Ear Training for Teacher and Pupil 1000078823

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TRAINING

EAR

FOR

TEACHER

PUPIL

AND

C

A.

ALCHIN

BOSTON

OLIVER

Chas.

COMPANY

YORK

NEW

H.

DITSON

Ditson

Copyright,

MCMIV,

CHICAGO

"

Co. by Oliver

Lyon DifsoN

"

Healy

Company

INTRODUCTION.

The

and

aim

to

learn

train

so

melodies

this the

sing,

to

and

of

and

Soes

idiot

an

in

reside

not

shall

be

not

muscle

is the

like

or

in

tone

of

has

harmony,

the

basis of

system For

mind.

of

a

education,

musical that

study,

is

skill of hand

that

manufactory,

or

of

of

i,

3,

this

lessons

the

training of

a

"

character

is the

teachers

and

color,

or

which

pitch,

is the

these

pupil perceives natural

guishing distin-

a

of

result

distinctions

he

of

this

outgrowth

is

a

always

used, it

system

not

Different express

identical

names

teachers

key Do"

have

refer

must

of

be

not

with

the

different

it would

degrees

old

system

sounds,

a

of but

exercises.

of of

ence, prefer-

the

scale.

"Movable

key

ship relation-

the

tones

of

numbers. for

uses

be

have in the

pitch, but

fixed the

the

to

who used

are

absolute

relationship only. habit,

students

numbers

syllables representing

scale, the

"Fixed

the

which

5, etc.,

syllables are

; the

from

interval

syllablesand

numbers

for

special

its

when

advantage

the

If the

the

the

to

what

ear-training.

both

to

shop

a

the

and

is

in

indispensable

effect, aside

key relationship,

the

fact

the

but

express

the

may

recognize

to

music,

cannot

of

all lines

has

key

a

melodic

Do,"

proof

;

of

tones

harmonize

to

and

effects

alone, but is

hear

they

in

tone-deaf

the

even

voice

think

to

only.

Every

The

what

The

accompany

those

that

melodic

best

hand

pupil

accompaniments,

well.

hearing

precede

must

play

the

as

the

Discriminative and

and

only

not

the

feeling

improvise

rhythmic

felt, and

not

teach

the

write

name,

appreciate

is to

and

ear

sight, to

at

harmonic

work

If

the

better

the

syllables,and

student to

use

already the

ours

has

numbers

INTRODUCTION.

IV

only,for related

and

each

to

call

we

this work. other

key,

"

useless

"

the

use

Fixed

and

fixed of

law, they establish what music.

in

discontinued

when sight-ieading

letters,since

the

pupil .The

names.

work, but wholly

sounds, he

they represent

the

the

and

Excepting

music.

vowel

the

syllables

Both

merely mechanical

of instrumental

derives from

fit the bene-

might just as sounds

same

as

the

Do."

Applying the ke;ynoteor Tonic and

a

they stand have been learned sing the music regardless of

student

vocalist

nothing,musically,but

mean

essentials

is sufficient for

the

to

the well

"

Do

the

be

which

think

to

Fixed

of

should

for relationships

tones

accordingto

one

"

numbers

is able

Isolated

numbers

to

from necessarily names syllable represent We

have

be the

Tonic

scale

or

", the other intervals

"I

middle

not

group.

the

a

certain

movable

In

C.

the

same

from

should

way

in placeand relationship

it, the

the

key

Why } Because Harmony. it is wholly a matter of relative, not absolute pitch. Each chord bears a certain relationship to the Tonic, the name for that relationship in all keys. If C should remaining the same always be Do, regardlessof key, then the C chord should always nothing

key

of C

as

a

for

chord

compared

has

the

same

the

with

Tonic

call the

key, we always being reckoned

same

in

the melodic

effect

on

The

reason.

the

identityof pitchis

effect. ear

as

in the

1-2-3-2-1

it would

in the

key

of

B.

the same in as Why should the tune which is remembered both keys be called by different names .' To think an interval, consideringdistance only,is vastlydifferent from thinkingthat interval in a definite relationship.For instance,

3-S

of

the

same

above,

a

as

character distances Some

making

key, a

minor

tones

sung

and

thought as

6-8.

Think

exactly G

to

D

key and then as 1-5, and note the difference of from the change of relationship. To see these resulting is not enough, their place in key must h"felt. 5-2

of

are

different when third,feels entirely

teachers that

the

a

are means

carryingthe color scheme of recognition. Both

much sound

farther,and and

color

INTRODUCTION.

the result of

being

it naturally follows vibrations,

correspondence between from

from

the

other

over-use,

real and

unrelated

The

too

as

whether

things tend

many

that

it

; for to

seem

that

there is

be used

can

I would

question.

a

vital in music

devices

word

; but

them

great advantage, or not, is snare

V

suggest

any

possible

a

distract the

to

to

a

tho,ughts

instance,blocks, sticks and

be the fad

justat present.

"

A doctrine as or theory is defined by Webster of thingswhich scheme terminates in speculationswithout a view is certainly to practice." That a good definition of the theory of "

"

generallytaught. With two or three exceptions,the it a purely mechanical current operation,hindering, systems make one's musical rather than faculties,the developing or cultivating work being done without reference the two to melody or rhythm, factors that determine the harmony. all-important music

it is

as

"

Think

the great composers

you

that worked

from

exhaustive

An

desirable in

work

a

included

matter

wishes, and

to

but

composers,

the

out

melody

discussion of

wrote

this

will enable

of

unmelodious

an

bass, and

accompanying .voices 1

and

is neither

Harmony

kind, but

a

conscientious

the student

harmonize

to

analyze anythinghe may study. We do need students, we intelligent

possiblenor

study of the anything he need

do not listeners

and

teachers. '

play of

mere

the

is not

This

work

sdme

pupils. To accordingto Most hour fervor

and

of when

finish what

for the

mentallylazy,but

To

the

all of the

to

teacher

but not all of the work to pupils, accordingto his needs, and from every one his ability. lack of continued

both

teacher

undertakinghas they began. he begins.

waned

It is

A

pupilis

and

a

and

mark

of

in which

the

goal seems

a

reallyable

prominentwriter

of the

all of the

every

says,

"

As

one

The

perseverance.

that

for

I would

pupils,all

of the

tests an

sleep" method, making

you

teacher.

of the work

failures result from

that

while

It is not

art.

student

give some

"

to

"acquired

great

earnest, serious

suggest

than

a

an

the no

first

nearer

student

to

thingsrise

INTRODUCTION.

VI

in

the

scale

of

value,

lengthen.

must

interval

the

Increase

value

of

for

time

of

increase

means

harvest

and

seedtime

between

growth." The of and

idea work

this

the

of is

work

study suggested

the of

of

by

Every

are

the

the

is

the

order of

of

preceding

each

one.

made

step

my to

depends The

all

of

is

cation appli-

the

and

it

basis

excellent

but

theorists,

which

a

Milwaukee.

teaching in

as

most

a

Klauser,

extensive

The

development been

by

Progression

Septonate,"

"

Julius

Mr.

of

classics.

has

the

taught

result

of

Principle

by by

matter

the

effort

success

the

the

own,

my

of

use

suggested

was

comprehensive Some

and

of

ical analyt-

an

has

given

been

pupils. condense

upon

principles

as

a

are

briefly

thorough few,

as

ing understand-

but

the

many. C.

A.

possible,

ALCHIN.

tions applica-

CONTENTS.

CHAPTER

I.

Sbotion I.

Pacb

Rhythm

i

14.

Sol

16.

Key

Introduced

5 6 20.

Mi

30.

Bird

Introduced 7 Songs 9

37.

Dictation

Exercises 11

CHAPTER

38.

Tonal

41.

Cadence

42.

Re

44.

Sight

45.

By-Tones

48.

Melody

52.

Dictation

II.

Magnetism 12

13 Introduced 13 Singing

Exercises 14 16

Writing 17 Exercises

18

CHAPTER

53.

Ti

54.

Sight

55.

Intervals

62,

Key

III.

Introduced

19 Singing

Exercises 19 Ti

from

20

Drill 22

64,

Exercises

to

be

Completed

25

CHAPTER

65.

Fa

67.

Intervals

69.

Key

70.

Exercises

71.

Piano

76.

Dictation

IV.

Introduced

26 Fa

from

DEELl

26

Ey-Tones

and

27 to

be

Completed

34

Studies

35 Exercises

36 vii

CONTENTS.

vui

V.

CHAPTER

Pags

Section

77.

La

81.

Sight

81.

By-Tones

Introduced

4"

Singing

82.

Intervals

83. 84.

Key

40 42 La

from

42

Drill

43

Dictation

Exercises

50

,

CHAPTER

86. Passing

,

Tones

8q.

Auxiliary

95.

Embellishments

96.

Appoggiatura

97.

Anticipation

98.

Suspension

102.

Melody

108.

Examples

120.

Melodies

VI. S3

Tones

54 yj

57 Tones

57

Syncopation

and

,57

Writing

59 Corrections

and to

of

Faulty

VIL

CHAPTER

123.

Hearing

Three

Major

127.

Diminished

Chords

129.

Augmented

Chords

138.

Three

140.

Harmonizing

146.

Employing

147.

Inversions

156.

Exercises

and

Positions

Harmonizing

160.

Dictation

71 71 72 of

the

Chords

Four

76

Voices

77

78 to

Completed

be

82

Songs

83

Exercises

85

'

Supertonic

164.

Melodies

165.

Dictation

166.

Submediant

167.

Exercises

168.

Melodies

i6g.

Dictation

170.

Mediant

74

Melodies

CHAPTER

163.

70

Minor

124.

157.

Simultaneously

Tones

6i

65

Completed

be

Work

VIII.

Chord

88

Songs

and

to

be

Harmonized

88

Exercises

92

Chord

94

Playing

for to

be

Harmonized

Exercises Chord

95 95 9^

98

CONTENTS.

IX

Sbctioh

Page

171.

Exercises

172.

Songs

173.

Dictation

174.

SuBTONic

175.

Songs

Playing

for

to

98

Harmonized

be

1

Exercises

103

CHAPTER

,176.

IX.

Chromatics

178.

Altered

185.

Dictation

186.

Melodies

187.

Exercises

189.

Fourth

190.

Songs

191.

Augmented

192.

Fi

193.

Seventh

194.

Te

104

Chords

104

Exercises

Scale

the

Sixth

113

115 Chord

Seventh Scale

the

197. 199.

116 116

Lowered

Employed

First

117

of

Scale

the

Harmonizing of

203.

Fifth

of

206.

Sixth

of

208.

Second

209.

Fifth

210.

Summary

211.

General

312.

Reduction

X.

Raised

119

Melodies

Second

119

Scale

the

Raised

120

the

Scale

Raised

123

the

Scale

Raised

124

of

of

109

112

Chord

Diminished of

Mode

no

Raised

CHAPTER

196.

Minor

the

Harmonized

be

the

in

Completed

be

to

to

108 Harmonized

be

to

of

IN

99

102

Harmonized

be

"

100

Chord to

"

Scale

the

the

Scale

of

Chromatics

Exercises

Lowered

125

Lowered

125 in

for

Chords

Harmonic

126 Dictation

126

132

TRAINING

EAR FOR

TEACHER

CHAPTER Rhythm

Bird

1

Begin

Songs

with

good

a

If

want

you

to

if the

see

have to

he

tries

forgotten just

hear

2. the

it

again

or

how

the

before

he

It is sometimes

3.

For

a

F

or

bell, the

bell several

a

it is

pupil

young

bell.

Do

times

singing

For

the time.

of

marked

generates

play

or

the

F

the

on

be

he

and

board. keywill

necessary

and

speaking

a

in

lesson

pupil'sattention

to

to

tone.

call

rhythm,

it the

tone

let

ring

us

of

a

this

or

"jL_"L

left hand

making sing

pulse,

thythm. off

rhythm

for

is

or

is the

can

then

tone

stronger

a

weak

the

tones

regular ear

only

right, alternatingto than

after

the

each

satisfactoryif

more

of

recurrence

by

the

be

felt after

right,each strong one,

ended

called.

it is sometimes

as

the

and

two

last, which

the

beat,

principle time

left hand

Next,

excepting strong

the

first with

end, the

lower.

"

$ ringing

and

success,

it will

call the

interesting

a

it

F

it. to

necessary

between

difference

find

can

sound find

and

first space

higher

without

sounded,

F

both

and

tone

the

:

teacher

times

three

two

sing

the

the

remember

can

Introduced

sing

can

can

one

Mi

"

Exercises.

pupil

piano, let

the

use

pupil

If

the

nearlyevery

for

one,

Key

"

Dictation

"

tone

any

.

is

I,

Introduced

Sol

"

PUPIL.

AND

with

The an

essential

interval

Whether

accent.

the

the

rhythm

of

accent

is estab-

EAR

TRAINING.

tant question.In either case, the accent is a very imporfeature of rhythm, and rhythm is the most important element off of music. This grouping of strong and weak pulsts is marli^gd for the eye by puttinga bar before the accented note

lished,is

a

"

4.

instance,no

English words

pupilswho

with

them

use

all

Since

one

could

it rhythmical,

are

otherwise

cannot

feel the

recognize it in

fail to

the

is advisable to

rhythm.

For

little sentence,

of rhythm through "Merrily,merrily sing." Develop a sense with the touch also, by making the tones on your instrument the same proportionof strength; that is,emphasizing the same and in speaking. Doing this without words as a syllables change of pitchgives the pupilthe opportunityof directinghis the rhythm. attention to the one thingonly "

5.

Write

little strokes like this

"

î as

you

two

strokes,we

one,

like

a

place a when

; and

stroke

of duration

6.

will

this, O

with

made

Should

say the words.

downward,

add

we

have

we

m

many

followingtones

Tj"i-

a

sterais,which half note

and

the

acquiredby seeing,merely. first space F again,and rest one :

are a

also

tion concep-

times

beat after

"

iWthe

the

long enough for the first over directly tone

that is not

Begin with

How

a

mark

second

each stroke of the bell,like this

7.

hold

we

i does

the

bell insist upon

ringingafter

?

I

EAR

8.

will you

How

TRAINING.

these, into

group

a

two

or

a

three

pulse

?

measure

9.

We

establish

can

by adding more at the

and

more

a

rhythm

notes

to

number

contain

the

number

of beats.

same

To

a

The

regular intervals.

same

and

not

disturb it in the least if the accent

measure,

do

measures

of notes, but

not

have

they must

occurs

necessarily the

same

illustrate:

EHTTOia beginnerthat the notes joinedtogetherare sung beat or pulse,the first bearinga stronger accent in one than the the syllables of the as last,the proportionsbeing about the same word and "lightly."Say the word "light" and then "lightly," interval of time as requiresabout the same you will notice that one the

Explain to

the other.

10.

will find the

Teachers

use

of the

syllable "ly" fot a halffar preferableto the old "and is altogethertoo strong for the

pulsea great help in counting,and time and which requirestoo much and etc., instead of "one rhythmic feeling. Say "one-ly,two-ly," for triplets as two and," etc., adding two syllables "one-er-y,twohabit of speaking the unaccented lables syler-y,"etc. The life-long it natural makes and them to in quite play quickly, lightly "

the

same

11.

manner.

Do

not

dictate

an

exercise with

less than

two

accented

tones

quently Anything less contains nothing positivein melody,conseis meaningless. Train the pupil to think in groups and he will read much more readily;also to feel the dynamics, which the should be taught from beginning. Develop the feeling of

in it.

progress to

the

from

accent

pupilthat

this

to

accent, and

feelingof

to measure,

measure

progress

is

rhythm

:

not

explaining the

accent,

4

EAR

but

the

grouping together

arisingfrom rhythm from

TRAINING.

two

from

two

or or

more

of

pulses

compounding sections, and

lines of poetry

strong

and

are

weak

in the

so

in on

a

large

in

as

the

to

well

as

.17

Add

another

section

to

the

complete these.

18

measure

section

rhythm

largergroups,

the

"

pulse rhythm pulse ;

one

groups.

1 2.

"

measure;

into stanzas,

grouped

weak,

grouped

tones

more

and

strong

same

as

alternation

smaller

the of

rhythmic

EAR

TRAINING.

20

i

d=4

24

3^

1E3 g)"

(gi

13. with

:i

4

Sound

the

a

Fa=g"

F

voice if

-"

then

again and

"

"

give the

if not, with

possible "

-"

""

"

the

tone

of another A

piano.

always give the third or fifth above, after a few experiments the unmusical one

will and

"-"-"

"

or

the

bell

musical fourth

decides

"

son per-

below,

they are

the

best. 14.

Having

the distance

from

bell,is strong and

selected the

F,

the and

stable ;

C

the

below

F

difference

for in

our

second

bell,note F,

quality.

C, the Sol bell,is strong and

qualityof progressionrather

than

the

Do

bright,but

the

and repose stability call it a children The sometimes of the Do tone. going tone, "where is it Back and that gives rise to the question, to going .? Red is the color for Do, and lightblue for Sol. Do, of course. Expressing the quaUty with hand signs,we use the fist for Do, and the open hand, palms facing,for Sol. Although it is play for the young pupil,this unity of action and feeling is not a small feature. Suit the action to the word," is an old principleof value has

the

"

"

"

"

too

well known 15.

but

are

Few

requirediscussion. for teachers have the opportunity to

obligedto

do it in connection

with

reallyan advantage if the pupil seems ear trainingas something unrelated to is

ear

the other inclined

his other

trainingonly^ lessons,-vyhich

to

work.

think

of the

6

TRAINING.

EAR

always a convenience and saving of he the teacher's voice,and a saving of time for the pupil because can to all of his technical exercises. applythe ear-training Do, also called the 16. A key is a family of tones in which stable than any of the others, and the key note," is much more The

piano and

violin

are

"

onlytone which expresses absolute repose. Any tone may little family,each key note. Do, and will possess its own the

distance

same

call the

Do.

to

Mr. F.

For

that

to

from

father,"

instance, if we

familywill

Mr.

or

"the

have

be the

not

A

Mr.

longing Do, the Sol be-

for

Sol that

the

as

same

belongs ever Do, wher-

C, but will be the fourth degree below

the latter may

be ; E

Sol for A, D

the

member

sometimes

children

the

as

be the

the

Sol for G, B for E,

To

BI?. Ab. Db, Eb.

etc.

17.

Find

the

Fj}, Write

and

using this 18. and

Sol

sing

character

Think

and

playing three

belonging to each

E

sing times

twice

one

for the

sharps,a as

for

the

you

with

the

19.

Writing what hearing,and,

Do

; the

and

Sol, and

iw Do

B.

three

this for

then

Do

times

the

"

flats v.

above, singing

rhythmical effect :

"

^m each

of the

followingletters,writing as E, C, Db, Ab. sing. F, Bb, A, Fjf,

that of

When

same

the and

eye

without

one

hears

vice versa,

sees

and

the

trains one

ear

the

hears what

sense

he

hears, the hand

of

sight with

sees.

should

neously simulta-

has its own /i?^/. As each sense difficulty, the development of these three solves the seat of memory, tion, quesof memorizing, and gives the student that much desired he sees it and studies abilityto know how a thing sounds when

silently.

8

TRAINING.

EAR

naturally

Sol

24,

the

to

progresses

When we belongsto that particularDo. by figures instead of the staff notation, we dash

Sol

it to represent the

over

voice progresses

above, consequently

Do

represent

5 with

write

Do, but

above

melody

our

little

a

the

sign when

no

naturally. For instance.

I would

be

25. ii

I, 5, 3, 5,

letter,find

each

with

Beginning

example

successively.For

S.

3"

i.

:

the

three

Where

shall

51315131? S

3 1-5

Sing

Place

I-

3

the accent Write

also 353x351.

Begiiming on major and alternately intervals.

It

seems

29. your

F

as

Think

C

as

degree

of

again and

success

Omit

first and

then

in four

keys. the

tones, see

difficult to

and

i

peopleaim

energiesto

them.

one

has

been

a

time

the

and

sing

should

play the

name

intervals

when

the lower tones

up.

(Do-Mi-Do.)

hit nothing.

do not

leave

acquired,returning to

again,until the mastery is

ing: followand

i

pupil can

recognizethe

everything and

thing at

the

on

teacher

if the

sing 3 above.

at

etc.

sing S35153SI,

downward, than it does from

Think

Some

accent

thirds to

minor

more

the voices progress

28.

these

various

27.

the

place

we

"

"

I^S^^^^l ife^=g='--î^gg-'^ft--^^ 26.

tones

thorough and

the

Direct

it until weak

some

points

complete.

EAR

The

30.

cuckoo

tell what

can

of these

sings two

they are

The

if the

pupil

-oo,Cuck-oo. "

Bob-White

quailsings, "

.

See

tones.

:

Cuck

31

d

TRAINING.

;

the

name

tones.

^^^^B 32. and

There

is

little bird

a

in

that appears

Michigan

at

sunset

sings,

i "

33.

Early

you of his

^5

^

Whip-poor-will, Whip-poor-will."

in the

the

morning

locality by his emphatic

littleTufted

î

warbler

here."

here,

Here,

"

another

notifies

little song,

i While

Titmouse

says.

8

S

\*-

u

lYz "

34.

Who

Twohee-e

has not

-

e

heard

e

-

-

e

"

"

Twohee-e

Carolina Wren

the

m

At ever

the

same

welcome

time and

e

e

-

e."

call,

Sweet-heart,Sweet-heart."

of the year the

Meadow

Lark

cheeringnews,

fe3=g^â =^

W"

-

m

w

"

-

Spring is

here,Springis here."

announces

the

10

EAR

Another

TRAINING.

littlefellow says,

35. are

Write

these

bird

pitched so high, the lines and

added

letters

for

want

the

if ,we and

cheer ? What

What

"

the

or

four

representationwill "

In

the

for

cuckoo

C|,the

on

the

name

notes

third

?

As

keys. be

better

they if the

keys," means

the

to begin necessarily

not

pupil should

? What

? What

in three

used.

are

key of A will begin

song

The

For

on.

A

song,

above

of each

tain cer-

instance,

is to be

Do,

Do.

bird

song

the

as

playsit.

teacher

If the

teacher

another

sings3, and

36. I, while I, and

Do,

songs

staff

spaces

i

X

m

iE

with

5 add

i

and

is

3,

trainingin classes,have one another 5. Beginning with

as:

pupil sing 3 add

5 and

"

tg,^,^-

The

children love this,and

the

harmony aids in the development of key feeling which is such an important factor in ear-training. If the pupil is justlearningto read music, have him play and write these in four different places on the staff,like this : "

R.H.

^

I L.H.

etc. R.H.

iW-

m

L.H.

that should Playingthem will help much in acquiringa free arm precede fingertechnique. When 5, be sure 3 or you begin with to think the tones as Mi,) 5 i 3, (Sol Do 3 s i (Mi Sol Do,) or and not simply the letters It is a great mistake to E G C, etc. begin every thing with Do ; one should be able to hear, think, and "

know

how

to

proceed from

any

tone.

EAR

37. write

Tell them

what the

as

5?=f=5) iE

bird

songs

teacher

plays

gJiLr

i

11

TRAINING.

Lj

hear

you

in

following,

the

and

them "

Lrll^^îâ

g

"m *=n

i i

^^^^^"

?E=:=5i

it=":

=8=307 -I

"

S-

Elt^Si^^

-9"-

I

CHAPTER Tonal

Magnetism

All

38.

voice

moves,

more

definite

39.

we

in

The

and

In

only.

4

key-note, which

tones, and

i Do

into

and

the

a

strong

directions

certain

should

we

the

to

the

say

because

it

seems

the

are

of the

you

the

will

the

the

magnets,

F

latter

notice in

the

former

attracts

C, the

that

last

2

"example,

key.

i

the

and

i

"

fifth

tonic

5 of the lesser

has

point.

For

chord,

domihant

degree

of least

line

it is combined

which in

Mi,

The

40.

and

the

EE

Following

3

3,

below

third

E, the

to

of

when

:

resistance, all

tones

of

key

a

resolve

3. a

synthetic quality,partaking of

that and

when

progression

of

It also

chord. it

repose

occurs

has

of

combined

with

combined

when the

that

quality

simultaneously

with

^m X 12

i

of repose

and 3 in

rhythmic

a

Chopin.

35

with

with

instance,

^M

"

pupil.

excepting

tone

every

progressed

because

scale, while

the

example

the

attracts

of

2

and

progression,

or

going tones."

"

young

i

Writing.

of repose

in

move

term

the

quality to

attracting 5, 6, 7

to

the

use

repose

either

Sight

"

Melody

"

Strictly speaking,

repose.

but

Introduced

magnetism,

have

tones

of

tone

tonal

termed

certain

tendency nearest

be

quality

the

Re

"

By-Tones

"

have

tones

might

what-

Cadence

"

Exercises

Singing

II.

"

EAR

41.

When

the effect is a

a

completed

a

and

tone

repose

13

TRAINING.

the accent

idea,and

or

group

simultaneously,

occur

such

close is called

a

cadence.

(a)

iIE

=F=^

(d) the

In

first

example above, C,

part of the

accented

{b) the

{c)

(6)

a.

repose and

measure,

tone,

E, falls

the

unaccented

as

result

is

part of

feelingof of E, the Mi, consequentlythere is the repose quality small boy understands or feeling of completion. The perfectly by comparing the rhythmic flow or motion to the

which.cis

river

seemingly without influence than

the

accented

next

In the

pulses always progress to the rhythmic progression is stronger than

accented, the

of

the

on

cadence.

a

unaccented

the

on

tone, falls

repose

the

and

measure,

the

strong it carries

so

resistance.

qualityof

point.

The

The

large

rhythmic

the tone,

so

we

no

the

bodies

with has

carried

principleapplies to

same

case

the current

current

are

cadence

it,

more

to the

on

the

next

example, (c). 42.

pupil find Does

Mi

Which of

sing Do, Re,

the teacher

Let

what

; to

Sing it both cadence satisfactory

most

sad

and

easilychanged to

red

bright,or

Re, hopeful and

color is orange,

Re

and

it ?

also attract

is the

of

resolution

the

i

of the scale,and

2

does

magnet ways

2

i

"

i, and

is the

.? What

it

the .'

move

123.

character

gentle1 Hopeful, and the or yellow. The hand-sign,

palm slantingupward. 43.

Sing

and

write

approaching it from two

and see

Do

Re

:

I

"

Mi

Do, 2

3

larger than

I.

you a

Now

32

in connection

with

all of the

old tones,

successively. Do

121.

Do,

Re

which

2

each

Re

Re

Mi, 123,

then

combining the

begin with Mi, singing Mi i.

Next

like better, Sol Re

approach Mi,

or

Re

Sol Re

third,the voice should proceed in

the

Re

from Do.

Mi, 323, Sol, and

After

a

leap

oppositedirection,

14

EAR

hence

the

and

first

example, S

Re. above, for the

Do.

Sing

which

and

Re

down

same

3, is the reason

better.

voice

the

If

sing Sol

we

will

to

progress

,:

1251,

to Sol

tell which

2

accentingthe Re in both cases How degrees is it from Re up to Sol many .-'What kind of a fifth .? Sing 1213251,

1251.

is the better?

From

TRAINING.

should

tones

be accented.

3251.

3251.

}

35

Singing from the figurescompels one think the tones to independent of their positionon the staff,a process quite necessary and very helpful whose to of hearing is much one less keen than that of sense Seeing. 44. As the pupilsings the following exercises, the teacher 251.

2321.

should

play the

2521.

Tonic chord

the

of the

can

should be

which

sense

play the

chords

with

chord

with

the Dominant character

2551.

if

the

tones

35251.

"

or

repose

helps

cultivated from

to

establish

the

advanced sufficiently

tones, and

It accentuates

progression tones.

and

"

magnet

the

beginning. to

do

Do

*

Re

pupil

5

Ir

* ^î^ss"^sa

-si-

The

so.

3

iw 1=

harmonic

ii=

Do

7

6

8

9

^^^^^^^^^^m^^ 15

jgp

16

1

^

^jjgp -#-'

"^

I

I

16

TRAINING.

EAR

47

49

48

I

iW-

g5^S T*^=F#==^ "

3

it;

mony, progressiontone is sung with the repose harwill call with the progressionharmony, we tone or a repose such tones by-tones." Any tone foreign to the harmony then presiding,may be called a by-tone. For example,

45.

When

a

"

"

ih is

Re

a

of the

second

by-tonein measure measure

the

"Gh-r

first

is the because

because

measure

harmony.

repose it is

a

repose

I

the Mi tone

is

presidingquality a by-tone in the in a progression

measure.

46.

Name

the

by-tonesin

the following:

?=H^

i St

^ ^

^

!"!=:*:

-1"

r

I

S

â

|J|j r|j ntjuâ

^JfTjgTJj

;s^

1

EAR

47.

TRAINING.

Sing these, beginning on

indicate

the

various

tones

as

"m

t Sol, Do.

V^

Re, Sol.

i\-Ê^

^tt=t^

m

"Sh^

Mi.

Re,

lables syl-

:

^ ^

the

Mi. 6

i

d

fe

*"

s

^

-=*-i

Re.

Sol. 8

^m^^ Do.

f

\o

Sol. 10

i

1 Sol.

Re.

12

11

m

"=3=3E

^Sol. 48. vacant we

IJ

#

have

i

fei^fea Re.

Following the principleof tonal magnetism, supply the places in these little melodies, using only the four tones had,

"

123

and

5.

i

4.

'

4^

3

miêt

fffi

y

18

EAR

49.

Let

the

pupil

my

great

instance, See pretty bells An

adult pupil

is

rhythmical is

melody be

can

If the

better

my

lightness of

is used for

with

qualityas

pitch

to

a

The fact

the A one

simple,

to

best child

method

of

retain

can

without

exercise

to

speech, the

effort

51. in

its

to

An

and

and

exercise

general effect, one not as

that

pupils do,

52. of

For

"

44

just as

sitive sen-

in the

sight of

and

art

Music

first

wholly

directed

discriminate

to

upon

readilythan

more

is

something

Cultivate

the

the

to

closely

as

that

scends tran-

is belittled

simple stages,

should in

be

never

by

imagination,the words

dictation

longfor

too

at

or

or

appreciation of

must

cultivate the

the

habit

the

may

a

is

lesson

of

and

the

Playing or reallypitiful. in

dictation, the

pupil name

or

teacher

write.

a

pupil

to

instrument.

larger rhythms

in unrelated, isolated tones. some

the

is true

feelingfor beauty, that

the

roses,

not

give it meaning.

feeling

a

the

be

lost

much

is not

called

beyond

if the

see

learn.

words

imagination.

entirety,either

develop

with

thought

is not

to

words,

beautiful, sympathetic touch.

ex^jress it in words.

to

needed

he

his

element, spiritual be

his

them, but

should

expression, for

melody

the

fur, delicate ear

to

cultivatinga

a

melody itself,and or

natural

keys

sometimes

of things the pupil has multiplicity Train

of

the

these, develop in the fingersthe

etc.

"

of

rhythm

particularkey.

instance, smooth

snowflakes,

the

etc.

sentimen,t ; any

the

made, try it in different in any

my

down,

come

emphasis

or

for

Jingle,jingle,sleigh-

Feel

do.

;

See

cat.

different

a

accent

sentences

pussy

rain.

of

will

short

snowflakes

the

expressed

piano

feeling for quality; to

See

select sentences

can

that

after the

50.

to

gently

first,exaggerating the

thought

melodies

big dog.

ring. Gently, so

quotation

and

write

Patter, patter, falls the

rose.

words

TRAINING.

thinking in

singing note

can

think To and

groups,

by

play the

note

cises exer-

CHAPTER Ti

Introduced

Ti

FROM

53. the

Now

Sight

"

let

sing

Ti.

scale, called

Singing

the

to

first

below the

;

that

is the

171.

Do

Intervals

"

Completed.

be

tone

Color, violet

because

pointing upward,

Exercises

Exercises

"

us

III.

the

Do,

index

hand-sign,

direction

in

of

seventh

which

finger the

tone

naturally progresses. 54. 3 7

Do

Sing 2

I

Ti

571.

I.

571.

i|72|S7|i. I

5721. I

3

I

I2

I

7

Ti I.

i|27|s7|i.

37521.

72

Do,

712

Do I

I7

Re

Do,

I I.

2

i|72|s7|i. 752

I.

I.

I

i

7

i

I2

5 7 3721.

7321.

7253,

1 5 7~I I-

*=

1=

i

3

1=

1= "*zji.

6

iw

g^

^

,9

8

tf

Ftsfe

^mE^^s^^^m^^^^ 11

10

i

2

At

i*

mî^m *-'

"

"

14

1 r"

-n-rM

19

"

t

^^^

SB

i.

I I.

20

EAJi

TRAININU.

15

16

i

.aJiiII

1

^

17

18

teTF

a

?3=

^^

\m

19

1=^

^

3^

ai

-."*a-ra'

PJE?

"l-"'"i ;icgj

W

^

20

gF^^^

i

^,

r^_+-^5;.

^m^

I

ifznt

21

s iE 56. What

far

How

other Think

major

G

^

B

"

is Ti

above

third have Sol

as

Sol ? sung

you

Ti, and

"

kind

What

of

a

third ?

?

sing

"

sfffe

T=^

^2-

"X

7

5

As

Do

Mi, F^l

56.

Cjf

Think

A

"

as

Mi

"

I

The

*^

I

same

III

I

i

Do, and

^gjg

* 3

5

7

I

i

i

t

*""!-*

sing

"

fe

5 as

Ti

"

Sol, tF^

I*

*=

57.

How

we

found

and

sing

far is Ti minor

a

belp.wRe

third

21

TRAINING.

EAR

kind

What

?

Think

before?

of

A

third ?

a

Re

FjJas

"

Have

Ti"

"

"

iiE

t

?^

"=3t

--"^

S

-^

I

7

2

The

letters again as

same

68.

Think

iW

'

G

Bt^. as

"

Sol

"Mi.

"

"\i"Ti

I

P Re, and sing

"

721

The

iw

i

--U- tM= far

How had

we

sing

a

is

Ti

below

Mi?

perfectfourth before

"i"-

B

Sol

as

E

as

Ti

Mi,

"

Do,

"

m

fi-i^

S

What "

k=^

7

I

kind

of

Ti, and

is it from

degree

a

Ti to Do

sing

"

^^171 Think

"

fourth?

a

371

letters

same

Do

Think

of

i

igj-f i \\j_m* Ajlas

kind

1

7321

60.

?

What

"

i The

s

gjj-J-bJ-J^ 9"si-r

n

5

59. Have

Sol,

"

^3

and

Mi

again as

same

Fjf

"

G

as

Ti

Do,

"

I ,

7 .

I

?

Think

B

"

22

TRAINING.

EAR

61

What

.

sixth ?

is the distance from

Sing, 72SI351 the tone

Re

up to Ti ?

|3"

2|i.

7

kind of

What 2

i

\2

", T^\\.

with the

long dash after it two pulses.) interval 62. Sing the followingexercisesi thinking the : key indicated by the syllables (Hold

iw Re

Do

^

^r-^^

and

I

3^=*

^ Do

a

^^"^

Mi

6

"^

Do

Re

9

8

'^

Mi

Sol

11

10

Lu^^

^

SS3

IN

tat

I

SolTi 13

12

i11^* Sol

i

"^2-

Sol

Ti

Ti

16

"J^

^

15

14

"^

:S-

IT

Mi

Co

t; Ti

Cni Sol

^*'

Mi Mi

r"n Do

24

EAR

TRAINING'.

37

38

i

=w

^

i

?5' Jtiz

Mi

Mi

39

40

m

11 Sol

Re

42

43

m

^

I *?"

eg

Sol

^

E^

Re

44

45

W3

^L_H

b,

Ip I

i^

Ti

Pcife

Mi

46

47

'

"^

Mi

Ti 48

ip

i

a

tej

^

=s

I

Ti

Select

marking them

the

from

those

again and again

*the rhythm very Point

out

the

exercises

preceding of which

the

until he

is

for the

pupil seems

quite

sure.

uncertain, and Test

by-tonesin

the

iî

followingexercises

i^

%j

6

^^

tation, dicuse

his feelingfor

often.

d:

m

lessons in

%-k ^^1^^^

:

I

EAR

In

the

by-tone, of

quality

The

same

last because should

thing

exercises

two

the

the

A

progression

occur

occurs

on

in

25

TRAINING.

the the

in

the

quality

second

prevails.

hence

accent,

A,

is

measure

(Do),

The is

a

change a

by-tone.

exercise.

next

8

t-U"[iA^lM ^"

64.

Complete

these,

employing

Ti

in

1

each

J"

I

*

:

2

^

a

tSi

3

i *5=^"F

I

-"-aH

6

^^

S

fe^

I

W

S

CHAPTER Fa

Introduced

Exercises

"

Studies 65.

We

will

but a

unlike

is

Fa

color

is

green

; the

Mi

Fa

Mi, and

readily see

tones

Mi,

Fa

Mi.

the

Fa

141.

Fa

Mi.

1543421.

Fa

belongs.

of

the

Do

Re

you

Mi

Fa

ing combin-

sing. Do

us

Mi.

Do

Fa

Sol

Mi

1543.

1543243.

will

progression

and

let

"

to tone

new

preceding lessons,

progression,

to

this

Do, and

progression

to

down

finger pomting

index

Mi

Fa

repose

Do,

Sol

Mi.

then

of

other

"magnet,"

its

progresses

name

hand-sign,

scheme

progression

Do

143. Mi

first

"

then

repose,

the

is,it

The

does.

"

"magnet

Following

the to

which

to

Ti

as

from

degree

the

to

progresses

that

down-leader;

a

up,

Sing

that

minor

a

of

downward.

66.

Ti, it is

Piano

"

Exercises.

tone

a

instead

the

;

Like

Ti, it is

cadence,

sing

Completed

be

to

Dictation

"

now

Mi.

'"magnet,"

IV.

Fa

15543.

5243. Now

the

placing

35443.

35471.

43221.

3435251.

343|2S2|i.

How

1353243-

:

"

1543251.

1524321.

15423.

343|257|

Do

far above

perfect

other

4, and

I

tones

1535421.

I.

351I747I1. 3|4S2|i.

52

5|42|3i|25|i.

4|342|i.

as

progression

353|234l3-2|i.

I.

What

the

353|252|342|i.

471232

67.

on

13243.

I.

123

accent

sing

143.

is Fa

.'

What

fourth

have

you

Think

the

same

kind sung

of

a

}

fourth

Think

letters

as

2

? G

5, and

and

sing

2543. Think

The

C same

as

Do

and

letters

as

G

below

Sol

Re

as

and 26

Sol, and

sing Sol

sing

Do

Re

Fa

Sol Mi.

Re

C

Do.

EAR

G

Think G

3454

again

I

as

3-

68.

i

as

G

sing 121.

and

sing

2

i

131.

sing 343.

3 and

as

2

3

G

i

353.

sing

3 and

as

3421. far

How

What

other

sing 3

S 4 4 3-

is

Fa

third

mmor

the

Think

and

27

TKAINING.

same

above have

letters

you

2

as

sung

4 and

Think

?

of

kind

What

Re?

C

A

third?

a

^

as

5 and

sing 24321.

lends varietyto the work as Singing both figuresand syllables of tones, and the well as to fix the distances and individuality change of keys compels one to think the .characterand exact in key. of the tones relationship 69. Sing a few of these with the chord accompaniment as calls for a new tone The new chord, the Subdominant, indicated.

progression chords

if both

and

employed,

are

Subdominant

the

precede the Dominant.

should

3

:^t^^-i-j^:^

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IV

I

I

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I

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I

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15

14

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17

16

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19

18

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20

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25

24

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29

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'26

27

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Mi

28

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30

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31

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32

33

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34

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36

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37

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40

39

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EAR

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42

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Mi

43

44

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45

46

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11

47

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J in

Sol

49

48

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Mi

51

50

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52

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53

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56

57

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32

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74

i

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75

76

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77

78

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79

80

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82

81

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83

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85

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94

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95

96

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97

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Keeping

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in mind

"-|-H-p-"t=F=ftrp=â_,-etc,

iW

progression,let the pupil

cises, supply the notes that are needed to complete the followingexerThink and feel from, in each. the fourth employing Fa accent to accent, using the tones having the least resistance to the from one rhythmic point to another. progress "

"

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71. hears

If the pupil is

in every

For

something. for

exercise

usingthe for

former

whether

If at the

the

I

3 and

cadence the

on

the

of

always places

a

small

accented

"

with

the

the latter

group,

places,

ends

hear

can

the better ; if not,

and

an

progression

a

several

tones

of the

play it again and perhaps hear

In this

im

Op. 187

=t

i

=(=

IE the

note

those

in each

first tone

in

same

the

answer

In the next

of the four

the

"

well, perhaps you

so

72.

first four

tell what

can

measures,

occurred

p

^-

^

X

* familiar

the

point in

the next

73,

them.

ES

:t

comma

between

It

hear

the

one,

r

i W

then

following. Knowing

measures

IY-.

i i

he

187, first find the

Gurlitt.

we

what

every tone, but

not

cadence

one

piano, ask

interrogationpoint,or period,

comma,

time

only.

5

plays ;

the

Gurlitt,Op.

Do

"

same

much

melody, so

a

when

interrogationpoint tone.

he

for the weak

perfect cadence

a

that

instance,in

punctuation;

with

beginner

a

35

7RAINING.

and

135,

the second

measure

follow ; the

the Mi

key-track to

seems

to

the

prevailin

group.

exercise.

In the next

=p=?c

I F

"

-"

It

-n I

"

1*-

I

"-

_(Si;_

i

36

the

contains

first group

first accent, Re voice the

simple tones,

second, and

the

on

the

phrase. Leaping phrase with

Fa

Mi

the

end

and

it with

the

on

strong accent, the

next

next, which than

degree higher

one

Do

12321,

for the

Do

returning immediatelyto

next use

TRAINING.

BAR

Mi,

completes begin

we

Sol, a rising cadence.

the

We

"rising,"because Sol,the final cadence tone, is a progression the effect of an point. interrogation tone, giving In this next hear i 2 3 2 i again,but differently one we

the term

74.

It is

arranged. so

bring the highest

to

as

and

three-pulsemeasure,

a

proceeds in

the

the first tone

tone, 3,

on

the

is

accented

second

back

again,but beginningon Re, and the third,is the same with Mi. We might designate these as the Do, Re,

same

way

place..

degrees and

up three

The

group

ened length-

ning beginand

Mi

phrases.

iW-

^

75.

This

first a Mi

next

be

can

then

group,

that progress

one

and

Fa

a

I analyzed in the same with a Sol, finishing

the two

tones

downward.

^

f 76.

hearing'

way,

3E

i

suggestionshave been given,not for the teacher to but what the teacher should expect from the pupil. the pupil, it is invaluable in developingconcentration compellinghim to listen, These

give to Besides

Instead

retentiveness.

and

frequentlyinsist

his

upon

of

asking

tellingyou just how

to

what

he

remember

hears,, the

study. teacher

The and

the

teacher entire

should

pupil write note

by

note

exercise has

play the

them as

dictation

in the he

hears

been played.

same,

exercises

sometimes

them, and

in various

keys followingthe

sometimes

after the

EAR

In

the

addition

to

37

TRAINING.

selections should following,

the

precedingexercises

as

be

made

from

before.

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V.

CHAPTER Introduced

La

77.

sixth

the

La,

resistance

least

and

serious

reverential

and

then

other

to

that

tone

Do

Do.

tones,

exercises

another

necessity of combining

only

does

Mi.

or

The

the

Exercises. not

line

The

quality is

color, dark

blue

more

; the

downward.

following

the

Sing

scale, is the

than

hand-sign, palm drooping 78.

D-ictation

"

of the repose tones,

Sol

is to

La

from

of the

either

directly to

progress of

Intervals

"

and

will

you

progression

readilysee

with

tone

it to

the

make

a

satisfactorycadence. better

Iq^ La

79. the down

the

to

has

been

by

be

chord

Do

and

Do,

noticed

combined

for the

Sing

81.

pupil

the

names

I

IV

have

we

pupil Do,

"

and

that make

the

Fa, and

as

chord

a

case

know

and

Sol,

Fa, and

three

chord

a

teacher, in should

the

reference

that

these

ing combin-

progresses

or

tones

that to

the

progresses

the

pupil

chords was

play them,

by

the

progressing

a

with

the

chord

IV

V

40

:

f=-#-

1 IV

by

to

name

beginner

Tonic, Sub-

names

accompaniment

up

callingthem

Dominant.

i#

i

harmony

same

repose chord.

intended time

the

with

La),

Heretofore

root

dominant,

with

better.

Rj^jjiiJjjn

i=3C

.'

this the

sung

or

the

Has

the

from

Do

could

Do

be

can

(Fa and

two

80. to

r-ii

good.

not

;

41

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5

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11

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:

27

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T~r"^

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Sing

from

the

beginningthe How

^

a

2^"

:"zit

major

^

Armand.

-ei"\~"si

of La

*

these

*"-*

key,

^

i"

accompaniment

the of the

other tones

; note

sing the

and

the

distance

interval

before

exercise.

far is La sixth.

^

-f

without

^^=^ i^"

SE

Think

above D

-

:}N

B

Do

1

as

Do

1

What

-"

-

"

kind

La, and

ai-

of

sixth .?

a

sing :

=#i

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^

^3E

Sing

a

EAR

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as

43

TRAINING.

-Mi,

îSlS^B^^

I

=#t

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as

i as

=*K

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^

"'

îs

^

^

"

?s

-Re,

^î^gEâ:fJ#M^:t^^^ 421

third.

kind

What

83.

Think

A

-

of

Fjfas

a

third Do

is Do

-La, and

to

La

below

?

Sing a

minor

sing :

i^^^^^^^Êî^ as

Sol

-

Mi,

ip^^

i=3-

5 as

3

Re-Ti,

S

:#t as

^

-^

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^

^

Fa -Re,

^^j^û^ppB^jjie^^^^ Follow could

this

scheme

through

intervals

in which

occur.

2

1 ~P' ^^

all of the

M

I jg"

^ Sol

^

^

La

44

EAR

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EAR

45

TRAINING.

15

Folksong.

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mk

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Mi

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"^

f^

I

16

gg^^

F==F===W *^

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Mi

17

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F-

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Ti

18

=gi^^=g 19

Schubert.

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EE

P=Q

Fa

i

-""

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F-W-"

=^ Folksong.

20

ip=

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^ Mi

21

La

22

Re

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F=f=

=^r=p

ê

I

46

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23

Ti

24

ig

^

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26

29

m

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27

Meyerbeer. 3 ,

1 Mi

28

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29

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31

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48

TRAimNG.

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53

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61

60

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62

IE Ti

84.

In

harmonic

and

section,line felt in each

Note

scheme. to

line, or

section

two

section

first whether ; then

lines to two

measure,

or

that

the

follow,hear

that

exercises

dictation

the

rhythmic

responds the

name

is, whether

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harmony

progression or

repose. Schumann.

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i"S^^^^S:^^^

?^M3

9=fTfî^

E^

'

I

Mendelssohn.

-""

w

;^

I

^^=r=r ^

10

am^

Chopin.

rii^

-""d"*-!

J^7lJ

*5S

^-

"

^ H-*-

at="

J.J'N-Jj

CHAPTER Passing

Auxiliary

and

It would

larger

some

It

points, but

a

well

in

The

"

of

the

construction

one's

little

undertake invention

melody

receptive, and

not

that

things

pupil would

that

hear

to

ear

of little

myriad

with

A

pensions Sus-

"

Writing.

if the

point

faculties

melodic

trains

this

at

Appoggiatura

Melody

"

original writing.

creative

understanding affords.

be

tasks

the

develops

Tones

Syncopations

"

85.

VI.

only

few

a

make

to

an

experience

other

no

help

gives

important good

or

bad

music. convenience

For of

of

will

we

used, here-to-fore, the

by-tones, having

chordal

expression,

for

term

one

the

matter

all

non-

tones.

86.

passing

Simple

harmonics,

A

as

and

C

by-tones in

the

those

are

first measure,

^^ When

a

should

proceed

return

to

the

passing

and

A

in the

passing

P=^

direction

same

in

follows

note

to

and

G

two

of

the

I

tone

the

in

first,as

harmonic,

another

(3),it

and

not

(c). (^)

(6)

88.

B

between

V

second

first,as

and

4^

I

87.

occurring

below.

example

second, in the

note,

specializein

be

may

proceed by leap

of

a

taken

third

^^

to

by step

from

another

harmony

^ 53

one

harmony note.

54

EAR

89.

When

the voice

harmonic, the by-toneis

TRAINING.

moves

one

called

an

degree and returns auxiliarytone.

* "E^^^. I

If,instead third and

of

to another

then

tones

returns

then

are

tone auxiliary

I V

*

to the same

I

*

IV

harmonic

immediately,it leapsa side of the harmonic, auxiliarynote on the opposite harmonic between the two, the auxiliary to the called,"changing tones." They change from an

returningto

above,

to

one

the

below,

vice

or

versa.

iiss^HiEE tone, and instead of returnr auxiliary aboVe, and ing immediatelyto C, the voice leaps to D, the auxiliary then returns D and B are to C, so they are changing tones." In this

example, B

is the

"

the

in the next

same

90.

Point

out

group,

the

with

the order

passing and

reversed.

tones auxiliary

in

the following

'

:

"

^^^^^^^1 ps

"^2-

i

Bach.

3

Bach,

E^5BE SE

5

izat

'^m

-IS

"

etc.

56

EAK

93. to

Restatingthe

the

accented

direction. should

be in the

94.

If

harmonic at

a

A

pupil to

oppositedirection.

instead of

degree beyond 95.

voice

wish

we

distance

one if the voice moves briefly, degree be will in the note same first cha^nging leaps to a third, the first changing note

matter

note, the

If the

TSAI.VING.

of a

the a

fourth

of repetition

third,the

the desired

of the

note

the

second

one first,

thorough understandingof

solve

many

etc., and

be

a

be

be

another

employed

leaping

note

to

a

returningto it.

this work

that he meets difificulties

it would

may

changing

harmonic, then

to

group

in

will enable

trills, turns,

good plan to embellish

the dents, mor-

simple

some

figuresas suggested below.

i iw

0

m

ISFfH^^^S

i

i

i i

m "j^-*

g^sEEj

^

i^

p^^^^^^^^^

I

jgz^Mj-J-^ff^^g^g IE

^^

g^

r

"

etc.

EAR

96.

by-toneapproachedby leap,is

A

'

i^^^ m: 97.

57

TRAINING.

called

Appoggiatura.

an

Chopin.

"

"_

^

=P=i;

accented

the by-toneanticipating is called

tone

m

tt^

^ The

Nocturne.

harmonic

of the

following

anticipation tone.

an

Bach.

i

:U;^

ife x^^3es

^^^ binding

the accent

belonging to naturally

When

note

the

It is

carried

Suspensions tone

as

a

a

similar notes

two

second, falls

by-tone,it of

felt in

For

of

the

reverse

be

can

by-tone.

gIE one

is

over

delayed resolution,the

99.

I

^

Syncopation is the

98.

I

3:

EE

the

upon

is called

so

that first.

suspension

a

anticipation. voice

one

example

by thinkingthe

cented ac-

;

i feels

measure,

a

which

thing occurs

of

change

i harmony that

converts

in the fourth

and

on

first beat

the

tone

into

sixth

measures.

a

of the

by-tone,and

second

the

same

In this case.

i the

i same

qualitycontinues

is carried over,

balance

exceptingF

and

we

only, so

through the

have it is

in the sixth

i

a

a

measure.

i in which

measure

disturbance

of the

syncopation,and

not

meter a

the note

rhythmic suspension, or

58

100. at

TRAINING.

EAR

a

To

the teachers who

later stage, it may

out

seem

wise

complicated,and

experience has

to

preceding lessons,we

the

three

or

more

grows we

are

four voices to

it.

demonstrate

Point

101.

need

subject

in the author's

that, prepared as

proven

do not

but

the work

it before

this

to treat

place here,

of

introduce

opinion,it seems

by

accustomed

are

out

syncopationsand

the

suspensions

in

the

following: Beethoven.

^^M

m -Bt

a*

tr

.L=i:

^^

eEt

^^.

it?

^

"!^"

"

!

^^-r"r"r^r-^

H

i

^

fe^4=r.

P=t=:a:

^

'i"-fJ--"-t,"-:

etc.

^J^l

8^

J^

i"

j^^n^3=^

=gi^

EAR

69

TRAINING.

] WiDOR. H

"*C-J!:i-_"

"

I

^

i

^^^^fT^^^^^^ etc.

"^ly# PE

JH: =F=i=

Lar

f

3

Beethoven.

^4

Ê^

i^

?^rc^

"-J-

u_^

i^^^

^^

=ft3

1 02.

It is often

said that melodies

suggestionswill help

to

write

all-important thing is the

The

rhythmic,and

and

melodic

103.

Excepting

it is better the

from

both

us

to

make

the

Xhs

"

are

and

to

il

God-given,"but

a

I few

hear.

principle of progression, both

the relation of the two.

firsttone

of

a

melody

followingaccented

preceding weak

^pa

^?^

J^ i

For

one.

when

tone

it is unaccented,

differentin quality

instance, the

first exercise

be written.

might

g but

I

the

following is

on quality

each

"

much

accented

better, because

there

is

a

change of

beat.

I Tones consecutive

of

a

similar character

measures

when

a

in two frequentlyoccur or more rapidtempo is desired; for example

:

60

EAR

TRAINING.

Invitation

^

*

H?-

Ii

g^^

^

^^

^^^ s^

^ * "J

N*

degrees

I

always good, but for commanding, vigorous powerful effects,more leaps are employed. this in particular. After two or more consecutive degrees,

and Note it is not

good

the

to

leap to

accented.

For

are

leap in the an

example

direction

same

unaccented,

bad.

or

in the

to

leap may

in this from

accented

oppositedirection

bad.

tone. to

an

occur

good*

f-f .\T f

i^gamtmn This

an

:

good.

3E

as

Ctrt

f=

f-

Consecutive

i

?

t^^

i^

tone

*

t

?

It

104.

Weber,

r4"fr~i~i^ -*-

i^

:

.fJ-^t-^-^(L-ff^^

s

Make

to tlie Dance

"-

S

when

the voice progresses

to

etc.

by-

a

Tchaikovsky:

^^g^^^^ 105. tone

iw-

If

within,

a

voice leaps

and

not

more

beyond

than

a

third,it should

the interval taken.

J

For

proceed to instance

IIJ r r IH=f=^

:

a

EAR

This

suggestion appliesto

the

voices

do not

chord

but the intervals,

of times

106. in

A

so

leap largerthan to the

contrary

the Classify

direction

108.

the

Do

sixth should

a

leap itself.

of

key

a

be

the

follows

the

the

to

ber num-

For

of the

approached and example

into two

left

:

planes ; Ti

lower, Sol, La,

; the

in its

plane,and

own

after

a

return

the

and

upper

Do.

leap from or

A one

in the

move

planejust quitted. be

It may

assistance

an

to

see

of the

some

faultywork

corrections.

the

W

{a)

The

few, compared

other, the tendency is always to

pupils,and

iW

melody

where

"^-^

tones

naturallyresolves

plane to

instances the

when especially

i

voice

to phrase,not necessarily

many

exceptions are

including Fa, Mi, Re,

of

find

may

progress,

i 107.

a

the rule is observed.

direction

a

within

tones

One

largerrhythms.

61

TRAINING.

M

a^îHFQt^

r

Bl? in the second

measure

of

{a)is

the fourth

of the scale.Fa,

progressedto A, the third of the key. In (b)the progressionto F, at the close is not good after of closingwith If desirous leap of a fifth from D to G.

that

in (c)would as tone, to have moved particular 109. Paragraph 105 explains the error

The

and

should have

example

at

suggests (t:)

resistance, and

in

a

different

"b)

(a)

i

the

1

entire

rhythm.

phrase

have

in

better.

i

this

the

on

Which

been

is

the

better. one.

line

of

least

preferable?

w

1

X

I

62

EAR

110. from

E

(and

In the to

F

it is

on

TRAINING.

example below,

in the first the

the voice ; Ti

measure

naturally progresses

least resistance

line of

progressed

have

should

to

the

Do,

to

accented

next

tone, G. better.

i

"

"

^

V-

111.

If

at {a) with begin the one cadence is very unsatisfactory. To begin on bring the seventh into prominence by two points; if we think it in a two pulsemeasure,

Ti, and

also

we

the

We

melody.

too

it by

corrected

omitting the

and

has

tone

second

E,

as

much

changing it to at (b).

a

strong beat, the weak

the

pulse,we accented

successive

point is

lowest

the

for

three

such

a

short

pulsemeasure,

F^fe^H^-^feM^

112.

This the

because

is not

one

qualityof

measures

of

are

as

bad

it

as

might be, but

alternate,while

the

measures

one

the quality,

(b)is better at

{a)the

last

Tonic.

(")

(a)

IS

IS

^

113.

pulsesare

This

is not

good

all of the repose

Place

the

progressiontone, little melody.

bar

so

as

at

that

in

I

^

rhythm because the strong and the weak pulses progresquality, sion. one

(U),and

this

of the

accented

have

you

a

notes

will be

"

d

^

a

smooth, satisfactory

m

{a)

m

a

prominence

Wthree

T

^

-*"

#-

î

64

EAR

118.

Before

it is time

this

work, the student

and

not

TJiAIN/NG.

see

and

think

he

to

may

appreciatethe results is

much

getting too

enough ear-training.Many and varied tests that this is the,best kind of ear-training, because, extent, it is self-training. As

before stated,the average

once

for this work from think

to

four

doing

not

The that

The

than

a

a

to

to

certain

test

him

a

little time

correct

at

each

sions progresis

writing is

the

least,justto make

obliged

lent equiva-

an

lesson

for

that the eyes

sure

are

ears.

many

sufficient

loss of interest.

matter

It is

the

be

might

at

proven

the student intervals,

should

teacher

included

has

and

tones

listeningfor

discrimination, and

minutes,

more

there

a

with

author

without

not,

stated

naming.

or

by writing and

certain music

for three

; and

theory

have

has very

teacher

of all

be decided

Some

by

ways

of

number

doing of

pupilsmay

the

exercises need

thing

same

and

all,and

drill, others

the teacher.

psychologicalfact,that repetitionwithout variation is wealceningto the memory, and the teacher of children knows only is proportionateto Attention too well that it is fatal to interest. interest,and retention is proportionateto attention. 119. For further practicein singing the large intervals and the feelingfor correct progression,both melodic and cultivating rhythmic,begin with each tone of the scale and leap to a third, fourth, fifth,sixth,and octave, both above and below, adding three For example : tones to complete the group. or more

I

then

a

a

3

third

2

below

; s

tf m

gy

ff

t t*=^=i.

-^2

M'm-

8

md

-0-1-4"

f

e^^ "ji

zzt

1

adding enough prefer.

you below

make

to

Next

EAR

TRAINING.

the

cadence,

begin

65

or

several

phrase with

the

just as

measures,

both

1-4

above

and

:

rffef^=#âai^5îsa othen the

interval

an

which

seventh 120.

of five

Now

the

For

example

the

octave,

omitting

beginning with

i

i

"^jt 3

5

Mi, the

:

1=

ife

to

on

scheme

same

^2 3

so

desirable.

is seldom

follow

third of the scale.

degrees,and

I

^^^^=MdJ

^t 365

then

and

the following Ti, successively, as

Sol, Re, Fa, La, and indicate.

exercises

"

M^

tf m

i

^ I

HEfE

I

3

6

I

ir.^^

m

%

I

tf

fet I

s

s

I

I

6

* I

3

,11

3

5

3

M S

I I

8

12

-|t|J" ^

^

4

9

ftl S

i

s

8

fet H

4

6

.5

k

I

I

tf g^sg 3

6

I

66

EAJi

TRAINING.

14

M"

15

U

tf

|S

^

7

3

7

3

7

S

19

lA ii'ti

3

21

^"

ffp f; S

2

5

22

i 5

2

23

I

etc.

24

^ 2

i

5

20

"

etc.

.18

J J p-ti 5

6

3

17

"S

!i

^ 7

2

4

25

26

aÊ

S

2

27

^m 2

121.

i

6

Set

s

2

rhythmicalquotationthat interests character of the melody that best you, selectingthe key and the sentiment. Plan the lengthand think the rhythmic expresses end abruptly, and if we first,otherwise the melody may groups out are writingwithout words, it might flow on in an aimless way, withproportion. In this little rhyme to

music

etc.

any

"

"Cuckoo, cuckoo, in the tree; Cuckoo, cuckoo, sing to me." the two three

is

pulse measure

unmistakable, while

the

following is

a

pulse. Under Out

a

toad-stool

of the rain

to

crept shelter

a

wee

elf.

himself. ,

Placing the

bar

to

locate

the accented

corresponding time values,it would

and giving the syllables

be like this

;

"

EAR

Un-der

I toad

a

of the

Out

The A

"

to

in

long

as

as

ter

wee

I elf,

him-

I self.

say.

the kindest under

fair little girlsat

Little

necessary

thing

and

-

a

her

eyes

a

way."

tree. could

see.''

Fall, fall,soft and

"

To

I shel

to

is to do

kindest

Sewing

122.

stool,I crept

-

I rain

"Politeness

67

TRAINING.

those

light. snow-flakes,dainty white."

here

complete

given, supply the corresponding groups

the

sentence.

1-

s

i^^

feÊJ^Ûk^ P

^l"^^

W

a

^

=P=F*

Er"^=m^

-s)-

P3S

=F^

^^^^^^m

p=t

M 6

g^^^ i^^

ii

'

u

^-

68

EAS

i

H""

TRAINING.

F=P=P= i=t

"-!*-

îtz--^t=tF=?=bt="rj

i 8

^^^^BgiSfep 9

tt

fflîE

^=Fl=

10

^^

i""

^=^=FF

"-

:p=F"=l=P=F"'=t=t:

i 11

i^ 12

r=a fc:i=

:;"=5=":

g

^"

jt-

^=

-^"=i:

SeS

I* 13

gEEgEJîjg^gEg^^^

%-^~

T^

O^

EAR

69

TRAINING.

14

i

#=

i^MC M=:

ps

"

r

si^^^^^

tSt:

i!

15

i

s

lib

?^^^^^

-^ "

P

i

=t=F

fe^= 13

16

i i^^

i

1^

^^^^Îfc

"-

:*=3t

VII.

CHAPTER Hearing

Three Their

AND

Simultaneously

Tones Inversions

We

learn

to

know

the

will

chords

One

1 24.

given

any have

we

chord

; the

root, and

125.

latter

lowest

voice

to

out with-

the

combine

we

Fjfand or

A,

its

fifth

or

and

B

D,

have

we

which

upon

takes

chord

third

build

we

Write

name.

D

a

the

chord.

which

is

mistake

the

of

naming

necessarily the

not

voice.

in any

occur

may

G

calculate

we

Pupils frequently make

the

from

not

words

knowing

by adding

combine

we

it the

from

of every

positions

three

D

which

from

chord

a

instance, if with

if with

;

tone

the

is called

make

For

chord

is like

them

use

for

them,

name

sentences.

always

can

tone.

G

a

form

to

to

to

and

simultaneously,

tones

learning

are

we

how

and

being able

to

while

them

use

three

hear

to

try

now

"

Exercises.

Dictation

123.

Melodies

Harmonizing

"

Triads

Various

"

For

instance

chord

a

root, since

the

:

i" c

u

Being C

composed but

chords,

under

in

occurs

the

first

is the

number

of young

our

and same

other.

lessons

perfect to

degrees.

the The

We

we

as

one

for

In the

the

may the

minor,

the

7o

chords

must

voice

of

of

them,

the

over,

location

of

be

root.

and

major

representation,

because

it is the

aptly

very as

as

of the

sound

staff

be

one

of them

the

thirds of

these

speak

minor,

difference

the

to

learned

pupil by representing

(the smaller

upper

will

fifths.

eye

of

three

In

major

blocks

G,

o

all

positions,according

thirds

the

root

and

central

minor

to

E

of the

and

126.

the

C

middle

in the

and

of

two

course),

the

the

same

illustrated

different mode

of

sized the

72

TRAINING.

EAR

128.

Change

129.

An

augmented chord is

the triad is formed

and

by making

chords.

diminished

followingto

the

one

larger than

semi-tone

both

intervals

major,

a

major thirds,as

"

Major. Major.

130.

followingto augmented

the

Change

Has

pupil noticed

the

chords, the third determines fifth

the

are

chords

Change

diminished

a

diminished a

that in

the for

major the

;

the mode

changing

minor, and

or

the first and

and

augmented

of the

diminished

?

131. to

altered

tones

chords

the

:

DI? major

:

to

F

an

A

an

minor to

same an

major chord an

to

an

to

augmented

augmented

augmented:

a

D

augmented

an

:

an

to

a

major

Eb major

At? major

an

major

:

G

: a

to

to

a

minor

a

diminished:

a

:

Dt"

major : a Dt? minor to a diminished. 132. the tones Pupils can simplifythis work by classifying those of the diatonic scale, of into three relationships, tones calling that resolve into them, tones th" firstrelationship ; the chromatics and the chromatics which resolve into of the second relationship, of the third relationship. those of the second, the tones For instance, in the key of C, Fj{resolves into G and is a tone resolves into G^ of the of the second a tone : Fjlfft relationship the F|}J| is a tone of the third relationship. second relationship : so minor

to

a

"

133. into tones

do not

Intervals

that may

of the first

be

resolve augmented or diminished and such changes so altered, relationship when

change the key, but necessarily

do ; and

when

the

modulation

tones

has been

of the third

effected

ship relation-

they become

EAR

relationship.Tke third and seventh of a key not be augmented because they would not resolve into a tone certain tones cannot firstrelationship. For the same reason,

of the second

tones

should of the

be flatted.

Many

Find

them.

students

of

allowed

not

double

first

settled. satisfactorily

Note

134.

include

Min.

find

write

few

a

as

every

chords

much

sound

empty.

135.

chromatics

examples below.

the

ibsi

I

3SI

different chords

many

the

example, see

letter within

as

you

number

can,

ing contain-

of chords

the

one

key of C, and quiteanother to find doing it quicklywithout tryingseveral you

will note

that

the fourths

than

harmonious

more

these, statingwhether

Name

octave, for it is

in the

keys ; and before findingthe desired one. Listening for combinations are

third.

that

E.

in all of the

sixths

diminished

Dim.

For

tone.

this with

Do

a

the question is easily relationship,

=tf

Now

given

a

flat for

fa-jzit'zr-^^ Maj.

or

sharp or

the

of

tone

a

* may

a

why they are

understand

not

Principle of Progression, lettingboth

this

to

progress and

composition do

employ

to

Following

to

73

TRAINING.

the and

thirds

thing: themi times

and

whrchi fifths,

major, minor, diminished,

augmented.

i

-p"

i?p"^'.

What

fe ^

has

-^ -^T

been

-î

J^-Jf

-3^3

3*5

"

to these

added

tes a

ej

p

"

g

"

-g-

-^^

9

"

thirds .'

S^-

rj?d2g

i

74

EAR

Although

there

Harmony,

in the familiar the to

is

the

self.

136.

first note

chord, and

The

quality possessed by that

on

the

The

chord

fifth of The

the

138.

Find

the

IS. "

"_^^

"

that

The

scale

Principle built

"Tonic"

or

meaningless and Harmony,

repose,

necessitates

making

and

is called the

the

for the Tonic "

Dominant"

"

demand

is based or

for the

law of

three

positionsof the

the Tonic

Tonic,

as

and

Tonic,

Dominant

âJk/s"O"

"-S'-"-"-r-^-^'-"r(tg-"r n 25TI25"

reference

an

to

melody

Melody and Rhythm

or

a"

etc.

zsr-

together according either

in

"

,

to

rhythm

generate and

unmelodious, un-rhythmical"bass

some

is both mine deter-

which

the student what he cannot do, and galoretelling work Guided purelymechanical. by the melody and progression both rhythmic and melodic, but few rules

necessary. 140.

"Sol"

cadence, satisfactory

most

rules

the

a

cadence.

useless. not

of its

chord.

simply string chords without

on

"Do"

I, because

gj

To

care

included

chord

numeral

Roman

the

upon

has the strongest demand

"""

figured bass

are

is based

^"

^:

139.

the

other

key,always closingwith

i

do not

distinguishingquality is its absolute no

doing

have.

scale,Do, is called the

together making

the authentic

termed

"

who

recognizes it by the immediate

ear

chords

two

each

of those who

singlevoice.

the

becoming

ideas like

is,the strongest tendency for progressionto it

chord. the

in

designated by

place in key.

"

for those

as

of

means

one's

cause pupil,be-

explanationsare

of the chords

same

of the

is

137.

clears up

the convenience

For

resolution

Progression,the

the

is the best

the

of

book

text

required of

preceding chapters,some

The

exhaustive

an

work

considerable

a

quite unnecessary

are

as

experienceit chords. Nothing

with the

study

intended

author's

thing one's

which

of

this is not

TRAINING.

Harmonizing this

littlefigure.

EAR

'75

TRAINING.

wthe first,

note

chords

of

similar

a

chord, but

D

not

in

just learned

of the

scale

progressionand Of

quality. D

a

does

that the in

occurs

Dominant

that

the

melodic

does

not

necessarily generate its

In

of the entire

key

141.

In

Do, and

paragraph

in this case,

establish

employ F,

the

the seventh

the

strengthens know

why

and

voices

progress

meet

words,

but is

tone

a

placed

in

a

the next

the magnet

"

when to

melody for

progressed

in the

the

voice

upper

minor

seventh

added

to

the

use

it.

Tonic,

so

In

the

we

are

; and

progression,we is

to a chord

progression of the

also ;

downward

downward

voices.

down

a

creates

Now

should

be

not

or

you

followingexercise

the seventh

to

up

Sol is the root, does

all,progress

at

move

Sol

of the chordy which, being a minor,

downward

up

We

it and

to resistance)

that

of which

demand

Brieflystated, a

leader.

the

voices that

feel

or

learned

we

chord

keep

to

let the

obligedto

chord

i

13,

find that the

we

C

group.

i

to

other

harmony,

own

in

Re, the second

as

chord, which, in this instance,is the Tonic

accented

but

cadence.

employ

line of least

(on the

good

a

rhythmic demands.

that will progress

chord

the

will

we

D

Because

does, and

chord,

both

and

.'

make

not

will

we

Why

place them place C in a

and

repose,

course

chord.

Tonic

the

progressing to have

of

tones

the ployed. em-

.

With

By

doing

so

to

since

each

a

other

chord

new

chord

one

should

learn how

familiar with

he will grow

the

and

neither

(exceptingthe

character

nor

meaning

littlethat is felt from

its

to

use

it.

of it in its relation

sound

chords, and that is reallythe only way has

when

to know

without

mode).

them,

key

tionship, rela-

76

EAR

142. chords

Harmonize have

we

the numerals.

TRAINING.

these littleexercises,employingonly the two

had,

Tonic

"

degree

and

which

on

Dominant

the

and

"

is built

chord

by

that will necessitate

melody in the upper voice of changes of position. many

1

2

1=

i

the

Roman

and

the chords

the

Keep

dicatin them, in-

write

3

I

1

I -w

TT

I

V

6

i

1

rsi

i 8

i

9

1

I

10

11

*= iliE3E Another

fourth

immediate than

chord

degree

the

Unlike

down-leader

demands

scale, Fa, and

it is

Dominant,

and

B

that

of the

aggressive like the

to

not

used

in the

not

occur

in

1 44.

These

include

example

Sub-dominant

a

for the

with positions

each

practicingthe

F

as

he

knows

If the

melody

the

key

demands

chord.

melody

a

is

ployed, em-

It

was

tone, Re, does

of F,

Sub-dominant

major scale,and they

to

that

and

he

play these studies.

in

a

For

aiso.

the

are

only

major key.

chords

scale,practicethe F arpeggio and

in the

demand

not

sombre, rather

in that

occurs

alteration,occur

student

scale

and

Tonic, Dominant

"

of the

major chords, that, without be well

tone

on

chord.

three chords

all of the tones

does

chord, the Sub-dominant

140, because

at

is that built

the Sub-dominant.

called

is serious

the Sol.

final cadence

providing the melody

the Tonic

down-leader, and

a

Its character

resolution.

bold

would

;t

'

143. the

1

-t-g^

'

tr

"

i

in

the

three

instance,if he as

many

It

is

chords

EAR

Let the teacher to positions

145.

and

play I-V-I,

if the

see

followingexercises, employing the

the

flat and

three sharp

three

voice,and transpose them

chords, keeping the melody in the upper into three

keys and

in different

I-IV-I,

recognizethem.

pupil can

Harmonize

11

TRAINING.

keys.

.12

3

gIE

-ap-

e" IV

I

IV

V

I

IV

I

5

i IV

V

IV

V

6

8

i

1 IV

II

S V

V

11

10

9

I t^

1 12

iW

13

-^-

rp=r=it

^-

s"^ I

Write

with

them

the

i tr

i "

""-

V

in the bass, like this

tones

root

IV

I

S-

:g

-251-

i 146. chords make

that

found

We

the Tonic

"

to

the the

them

demand

the bass ; the fifth to the

both

third

in the

Sub-dominant

bass

and

will

we

now

the

The "

Dominant

by employing

demand

Sub-dominant.

i

the

Tonic, and

the

demanded

:

Dominant

and

first inversion

also makes

chord, almost

a

demands

the order and

reverse

other

very

of

than

the

root

the seventh the Tonic

smooth

it,one

Sub-dominant

in

mand to de-

chord

progression

might

say.

As

a

78

EAR

third

major

should

be

not

time, it is omitted

same

TRAINING.

that

doubled,

when

chord

in the

The

bass

on

the

chord,

this

With

should

correspond

and

will

we

with

the

in

root

in

the

is

there

the

location

simple

bass

in the

third

that

for

the

to

the

by

confusing

note

when

it is the

figure,

and

I is still

i,

no

of

that

with

in

fifth

the

in

tone

more

figures

the

chord,

Tonic

the

the

third

the

why

reason

indicating

means,

use

no

is

bass

a

over

it from

to

It

methods.

system

that

employ

6

have

bass

chord

by

i, etc.

3

If the

a

b

148. will

c

to

chord the

of

change

phrase

or

line

undesirable,

as

hear

and

of

third

two

occurs

of

some

use

the

Employ

indicate

can

the

inversions

by

the

d.

and

Using

learn

6

easier, he

it

finds

student

letters

:

as

diminished.

a

the

excepting

principle, we

current

play

puzzling. not

in

figure

to

or

different

a

taught

as

writ^

to

the

be

should

doubled

bass,

the

i

and

minor,

a

be

may

Working

student

in the

employed

at

chord.

147.

figured

in

fifth

and

root

diminished

of

doubled

be

may

voices

two

i

9t

It

in

is,occur

or

more

at

patterns

the

chords

chord

times

in

is temporary

harmony where

the

the

a

(c).

Tonic

chord

in

of

the

with the

different

the

bass

succession,

only,

preceding lesson,

as

is necessary

for

(")

at

at

(b) ; and

inversions.

variation

as

a

at

we

when

below the

the

; where

end

of

perfect cadence

a

80

EAR

151 .

the I and

It is sometimes the

V

"

the

TRAINING.

difficultfor the Tonic

fifth and

to

ear

between distinguish

Dominant

the

because

"

6

they both

have

the Dominant

in the

root

bass, and

both

demand

a

cadence. Note

this

:

I

always demands

chords, the

two

V

I, while

and

6

the V occurs

demands on

a

I

only.

stronger beat

See examples

A

more

than

important the

V, and

fact is that never

on

a

I

usually

weaker

one.

:

t i \i ^r\^\ i i LsD I

e 152.

Wagner frequentlyemployed

i

-"-

the

I to

establish the

key

6

for his sudden

modulations, and

that

one

chord

does

estabhsti the

key, for with it we anticipatethe V and I which will always fix key. Note the use of it in the extract from Lohengrin :

a

^^^^^^fapjfe^ D

I V

6

gagej^gs^^^

feg "

"-

jS^^^f^^^ Ai?ii 3

"s

i

EAR

153. with

The

the

exception to

fifth in the

present ; in that

in the bass.

were

the

lower

See

for the resolution of

rule

the

voice, is, when

it has the

case

81

TRAINING.

resolution

same

minor

is

seventh

though

as

chord

a

the root

example :

Beethoven.

^Mm^h^^^ etc.

^=fJ

A

* A

mentioned

chord

of which

to

speak

we

very

a

V

degree.

155

only with The to

7

I-V-I. 3

IV

S

V

the

express

solve. naturallyre-

otherwise, but the

helping

to

lution reso-

resistance," always both

to

to

I in

IV

I.

I, but IV

and IV

to

I.

IV 8

5

3

recognize a

between to

lesser and

V

I. S

play the followingfor the student to to familiarize himself should also play them

teacher

chords, but with

employed

of the chord

5

8

S

that

indicates

numeral

in the upper

voice,and

the

beat.

Be

through another

represent

the tone

long

dash to

sure

of i

play

!-IV-V-I. I-I-IV-

I-IV-V-I.

7

I_.V-I-V-I. 7

characters

the

the Roman

rhythmically.I-V-I. 8

have

I to IV.

the

be

we

7b

figureabove

continuation

7

in

feature

to

chords

the

line of least

the

I to V.

the student

and

the chord

V-I.

how

do resolve

between

occur

the

Let

them.

them

on

important

this law,

may

good.

I is not

not

is

is used

as

use.

Summarizing

name,

and

they may

course

it demands;

what

by

"demand"

magnetism, showing

of tonal

correct, and

identified

be

may

before,the word

once

Of

and

I

-=1--

154.

effect

^

S

I^V-I-IV-I-V-I. 8

6

I-V,-I-IV-IS

8

6

82

EAR

v-i.

i-v-i-iv-i-v-i;

i-v-i-iv-i-v-i. SS

6

I_V-I-IV-I-V-I.

7,

58

I-I_IV-V-I. b7

63

We

of C

i-iv-i-i-iv-v-i.

6

3

I_V,-I-IV-V_-I.

5S

every

TRAINING.

must

emphasize

key. The number only,are legion.

166.

the of

3

importance of writing and

peoplewho

playchords

can

Complete the followingexercises

playingin in the

key

:

te

i

4z*zr5:

""i" #-

ifeis

M p5g4="=i

I i saa

i

S=

i 6

i ^3eie?

li^ ra

ga:^

^

! J-

b4

i

8

m Ê

p

m-n-s^ =1^

I

=ftBf T

^

g_

i

EAR

83

TRAINING.

9

ii

i

P"^-f =?cr=i:

^^S % \U1 chords

There

.

in the

littlesongs

many

make

and

In the

on

the accented

or

I-I-IV"

be

outline

of

song

of the first two

beats

this work

by making

them

sight,

at

first,if necessary,

at

and

desired.

as

chords

the Jack-in-the-Pulpit,"

"

three

these

and profitable

both

harmonize

later,change the positionsof the chords 158.

requirebut

practicalapplicationof

a

simplest harmonic

the

that

it would

and

accompaniment. Sing

own

making

are

accompaniment,

pleasurableto one's

I

measures

employed

be I-I-IV-I,

may

3

I

:

and

the

Follow

any

line

progressionfrom

by-tonesthat

treated

such,

as

iass

the

changing

not

on

measures.

or, better

measure,

accented

the

harmony

be

points to

the

as

yet,

beats,allowing

the accented

between

occur

may

to

measure

line, changing the

to

sixth

8

7

3

from

in the fifth and

V-I

of

tones

the

melody change. harmony

Sub-dominant and

Y%

instance, the

For

do

change

not

accented

the

second

in the

presiding;

then

harmony

let it

until the

foreignto

occur

as

a

by-tone

beat, which

next

the

is an

one.

^

X

Jack

^ iE

is

measure

the

in

-

-

pul

-

pit Preach

as

to

day,

:^

3E

^^ Un

-

der

the

trees,

green

o

-

ver

the

way

;

^=

1^ Green

Just

E^= is

his

sur

-

plice,Green

^ are

his

bands,

In

his

84

EAR

h^=fi I

$

m

queer

159.

In

harmony the

TRAINING.

lit

tie

the

second

is not

pul

The

pit,

-

tie

-

is,it does

that

of the inversions

one

lit

IV

"

I

or

in

line of the song

next

pleasantcontrast

to

at the

beginning

through

would

"

of

change

be best.

3

third measure,

by employingI

first line

the

the

stands.

continue

not

6

The

priest

"Baby Land,"

of

measure

permanent,

so

measure,

i

E^

be

would

for

the

first

3

two

with

the

occur

last three

The

tones.

Dominant the

on

Dominant

of the

harmony, should

not

be

G

change

becomes

repeated in

be

course

of a

harmony by-tone.

the next

sung must

The

the fourth

"

employed, for the harmony beat should not be anticipatedon the preoccuring on an accented ceding The would make the weak beat. root position wrong for an be interrogativesentence, but I would qualityof cadence

"

but

measure,

should

the

as

beat, the

accented

harmony

and

will of

measure

Tonic

a

be

s

very

satisfactory.What

taken

to

create

the

positionof for I ?

demand

the

Dominant

Marking

the

chord

should

harmony

be

of each

a

beat

accented

from

beginning,it

the

would

be

I-I-IV-I, I-V-I, S

3

7

3

I-V-I.

V-V-I-I,

6

p=4J=^4=J^JjîPE"^^ How

ma-

ny

miles

one

The

groups

flight to have

pupils who lessons and

the

with

Ba

to

care

correct

studied will have

harmonic

by Land?Say,

the

.

the

can

an

-

one

y

to ring rightjPlease

one-voice

work

tell?

the bell.

of the

ceding pre-

in feelingthe larger difficulty progressions. no

160.

85

TRAINING.

EAJi

WHERE

GROW.

THEY

J. H. Fillmore.

iP^^^^

^;

Down

the

val

ley,

ilYz

deep,

deep.

i

Un

der

the

grass

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deep,

Used

hid

es

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^

where

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dear

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i

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lit

lets

grow.

by permission. Reinecke.

* iii=a; ^ Up -^

S=i

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on

-

F^

?.

"

"

"

eyes

Exercises the teacher

'ret may

-

be

s-

"

blue

i:

?-E" Its leaves

asHeav-en,

are

and green;

fresh

^

^^^ are

Its

seen.

^

^" eyes

flow

*-

"

blue

are

A

blooming meadow,

as

Its

Heav-en, The

for dictation.

leaves

fresh

are

pupilsshould

^= Its

-^-

and

green.

the chords

name

as

playsthem. 2

1

3

i

t?=d=4=

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i

86

EAR

TRAINING.

5

ii5i

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10

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14

II

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15

i^=:fe^îi|Ei^=^^^î 5"

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iS

i

CHAPTER The

SuPERTONic, 162.

Submediant,

Each

chord

of

which

chord

163.

Our

minor

in the

be

as

the

is

place

of the

when

tainly cer-

second

chord, progressing for

Subdomi-

the

leading in

the

on

Re"

"'

or

smaller

are

built

substitute

a

mode

major

in

that

Supertonic

letters

Roman

used

term

demands. will

chord

The

stitute,'' sub-

"a

terms,

below.

often

so

It is used

be

The

cadence.

are

the

Curwen

third

progression

scale, called

should

and

they

Dominant.

the

to

nant,

first

of the

degree

the

minor

Chords.

Subtonic

and

what

has

the

appropriate, since major

Mediant

chord

major

the

"

VIII.

to

size

Dominant

a

when

is

it

a

chord.

minor

nâ IV

I

I

V7

I

II 3

tonic be IV

in

by

progression

of

the

the

is

II

in

occurs

require

II

both

V

only,

a

difficult

sometimes

first inversion

IV

and

of

the

is

tone

and the

is

melody

and

lead

to

Super

; V

Do

or

Fa

the V

a

; but

two

latter

is not

so

mode,

11

being

distinguish

the

Supertonic, II, because

marked

when

88

II

Some

IV.

V

a

or

minor

Subdominant the

Fa

occurs

in the

chord

I.

minor

3

of the

the

qualities

cadence.

a

may

La, and

or

where

major demanding to

in

Fa, La

melody

the

required,

are

Re

placed

if the

distinguishes by

ear

demanding It

chords

exercises

melody

by Re

have

we

if the

if

employed

of

The

IV

substituted

be

be

must

following exercises, employing

Heretofore

each.

preceded may

the

Harmonize

164.

bass.

from

quahty

89

TRAINING.

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2

to:^33infe

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EAR

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20

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Dear

2.

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lit

bios

tie

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down

soms

-

un

I

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snow

der

-

pray

the

snow,

rise,

a

you

EifeE

rYou

be

must

Bright

i

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cro

of

ry

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come

cus,

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win o

I

ter

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pen

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know; eyes;

your

^^

rHark

! While

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fo

I

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dils!

mes

a

you

Daf

dils !

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i

of

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mer

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21

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5

9

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7

24

Schubert.

migl^pg^^pigg^gggg^ a= A

i

m

streamlet

ifc=t once

the bath

clear and

sun

N

^^^ for bon

ny. With

-

-

ny.

rip-piesall

a

-

bout,

Was

"

i

For

rg3S gen

-

tie

lit

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tie trout.

On

91

THAINING.

EAR

^Ê^^^=^=|^êSee^ shore

I

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u

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i SSEiE

ob

serv

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ing With

-

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lit- tie

py

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tie

lit

py

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ite

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It

was

crea

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ture,

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prat

a

sight;

ty

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iiiÊiiE^

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pret

a

sight.

ty

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Schubert.

nfe

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F !"

1

the brook

tt

flow-'retsblue Which

grow

=rpf

ip=ii

spark -ling

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ler

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much

this stream

shine

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my

one's

call these flow

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7"-i

mine

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eyes.

r-^-M

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call these flow-ers.

I

26

Reinecke.

Ml Êâ=tjE

-fc" 5

I'm

lit

pret-ty

a

^M

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tie

3! -V

spring;

m

The

I

25

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*

"

ture,

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exquis

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In

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K-

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green

îi33

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ground;And

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my

stalk is

covered

^ thing,

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com

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^^

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^^^^. a

the

H-

found,Peeping just

flat With

with

white

a-bove

the

SE!F and

yellow hat.

I

92

TRAINING.

EAR

Schumann.

27

^î

=^^- "=^-

Wt=-^^^^^^-

tz^'-zt. i

Come,

la

bird,and

dy

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your

-self

up

-

hand,

my

on

m

g^^jq^^^gl^^ on

hand,Be

my

I

sure

^=s= ip 4-=^ harm

harm

not

I'll

No!

you,

not

^^^^^^^ will not

I

you,

you,pret-ty dear,Show

harm

^^^ nev

will

up

er

-

Ti

fear,

-

-"

""-

-5.

ny

wings

tiny wings

your

"" I ^B"S

"

so

gay

and

^-

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pret

and

i

ty.

-

Schumann.

28

"

"

N

"

"

i^

thefor

Hark!from

=^ -est

calls

the

^

f^^^

cuc-koo,Light ly -

he's

swinging,

^^^^^^^^m Gai

-

ly

he's

singing, Gai-lyhe's swingingand

^

sing

-

ing.

PJ^^^^^^ Wel-come

Spring-time,

165. that

a

Dictation

chord

may

be

to

welcome you,Spring-time,

including the Supertonic chord. by what it demands. identified

1

to

you.

Remember,

Reinecke.

' .

p^^^^^^^m lÊ^

itrt

^

93

TRAINING.

EAU

Schumann. 2

âîiia^^^î w-r

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i etc.

9^

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Haydn.

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i Mendelssohn.

94

TRAINING.

EAR

6

Schumann.

tt

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"

I

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"

I

8-

P=

ife

:b "O"f-

r'

V

a^-^f^ 166. the

Next

comes

r' rir=je

the

Submediant

sixth of the scale ; it progresses

dominant is most

and

or

equally

"La" well

Supertonic, and being the substitute

frequentlyemployed Submediant

S

"

delay the

to

both

for the

the

on

Sub-

Tonic, it

cadence.

Supertonicare both minor chords, but for progresby the different demands they may be distinguished sion, well as chord is much as quality. The Submediant more and does lead not to a stable than the Supertonic, cadence, bui The

and

to

chord, built

96

TRAINING.

EAR

6

5

4

t

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i

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8

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(2

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iti*:

12

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VI

IV

3

15

iP ^

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1 69.

si"

gl

"6

Dictation

"

(ff-

"

""=i-

exercises

"3" "=

zj"

zJ-

"f2"

"-

:t=iF

includingthe

Submediant

chord.

JSAH

97

TRAINING. Dykes.

Efe^

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r

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Choral.

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i.jif.

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^^^^^^m iiEla !

i

Handel

:pr *i-^

I

t^=^

=^=

98

EAX

Make but

a

selections from

hymn

170. chord but a

good Hymnal ; not containing arrangements of

book

In its natural

based

with

the

a

mode, there is

third

degree

to the

its

use

which

as

key

a

of the

substitute

demands

both

in

it demands is to

Note

the

effect

these

the

a

Sublation modu-

examples

following the

cases

from

third,convertingit into

altered

relative minor.

Gospel Hymns,

classical music.

scale,called the Mediant,

of the

mediant, and its principalofificewhen

the

strong demand

frequentlyused,

it is most

as

no

of the

alteration

chromatic

chord

major

the

on

TRAINING.

of

Supertonic

the Dominant.

5-M tj:

p^^

Mozart.

=F=J=^-^

Bach.

EiS

fe 7^ itf

i

E^^

etc.

-J-t

^^

^

^m

Play I-III-vi-IV-ii-V-I.

171.

I-III-117-11-I-V-I. 3

I-IV I-III-l7|,-IV-I-V-I.

ii-V-I.

iv-ivI i-v 1 1,

i-iii

'

172. scale when

chord HI the

I vi-ii

IV^-| I-I^. I

$3

I ii^-ii Ii-v 1 13

S

These

IV-III

6

S

I-III-IV-

as

8

5

1 n,-v

I i-vi I ii^-v 1 1. '

8-78

alwaysbe transposedinto several keys. is nearly always employed for the seventh of the latter is used consecutively. groups

should

EAR

Harmonize

y"

TRAINING.

these,employing the Mediant, major mode, in each. "

1

2

.

i

gi^^

3i

*

IV

i

III

4 "2"

-"

"

^ III

VI

iF

f=

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III

II

I

g VI

6

m

t=t: VI

III

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m

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s

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i

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II,

VI

8

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I

III

10

9

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III

I

'r Bertine

11

i4

p

a:

^

p-

=P="

"-

EEEEE

:t--Fi i

know

iW-

the

song

"

that

blue

the

-

bird

is

sing

ing,

-

3=

#-

"

Lakey.

-CI Out

the

in

ap

-

pie

-

tree

when

he

m

is

swing-ing;

=J:

Brave

lit

-

tie

fel

-

low I

The

skies

be

may

drear

y,

I.

mB

3: "

Noth-ing

"

cares

"

^-4 he

"

while

his

heart

is

so

cheer

-

y.

100

EAE

TRAINING.

Caroline

fe

i fe

Dale

Parke,

^^ O

the

pen

iP #1=E

gates

high

as

the

as

And

sky,

=^

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let

King

George

r=E i tf

"" f

and

his

men

by.

pass

O

the gates

pen

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:p=i:

I* If

as

i

::" P=t^

high

the

as

sky,

And

let

King

and

George

his

men

13

by.

pass

Franz

Ries.

fe^P^feî Efcl

gs moonbeams

The

iw-

-"

peep.

--"^

if babe's

see

;

My

precious dar-ling,go

""-r-

^

Dictation

to

^

-

-^j_

"

in

watch

*-"

"

keep

o'er

""=-

:b=te -

by, sleep,He

exercises

watch

includingthe

o'er thee will

Mediant Old

....

^^^^^^^^m f-

^"=?"-

"

sleep, He'll

1

"is

To

J

^

*

"

head. Sleep,dar-ling ba

173.

dow

win

:"

i^ bed

through the

feE i i aE^^fmff

keep.

chord.

German

Melody.

thy

i

EAR

TRAINING.

Bach.

te

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101

3

tFKfcg^zte

fcga? ^

=1

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4 V :^=^:^: "

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Alexander

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^P"! ^=tS^F^ rt

ii

102

BAR

TRAINING.

S|^Sgi^îp^@ 174.

The

Subtonic there

chord

""Ti"

or

mode,"

Being

we a

mean

diminished

classified. resolves

neither with

the

makes identity,

from

of

Tonic.

fifth in the into

of

The

third of the chord

See

examples below

mode.

chord

which

is not

scale, the

individuality, natural By

or

"

is felt and

it

good

in

alteration.

heard is

and

the

which

the

Subtonic

in the bass

of

is the

part, it

a

position,

root

seventh

almost

doubling

the

as

usuallyso

reallyis

bass, for that, being the

disagreeableeffect

the

the

scale without

Dominant

the

It

the

Subtonic

Dominant,

chord

Dominant

the

the

the

it in its natural

chord, the

seventh

Like

into

for

use

of

degree

little character

so

it is formed

as

third,fifth and

seventh

chord, has,

little

is very

the

on

loses

the

of its

seventh.

position. only satisfactory

:

1

Bach. .

^

irf

i ^:

i

J

He

^^

i Teshner.

2

i

-"

"

F

"g

'

."J

"

-

w

' es

"

Cie" n

-A

-fa-

i

CHAPTER Chromatics

Altered

"

Raised

Chords

Augmented

"

We

will

Scale

chromatics, which furnish for

good

a

the

upon

177. or

altered

the

case,

because

student

If

the

as

they

does

would

although

with

and 2I?,

^

Principle for

basis 179. the be

the

the

than

altered

180. chromatic the

or

supertonic

oftener

of

When

Dominant a

charm

4I

for

Most

of

the

will

preceding lessons, the

of

certainty

of

the be

must

altered

so

what

only by

chord

in

:

the

ered, carefully consid-

it loses

its

original

it demands.

thekey.

easilyrecognize them, playing

the

chords

to

move

the

a

very

a

alterations

the

because

common

employment

and

diminished

seventh,

has

because

is toward

follow

the

times

latter

sevenths.

the

old and

setting. 104

for

\%

6 ,

ered, consid-

and

factory satis-

characteristics

methods

by

so

Altered

of

out

is

used

The chords

major

the

been

not

things

reliable

most

neither

the

modulations,

harmonic

All

aid,

an

identification.

chord, nine

secondary

have

error.

is the

chord

be

writing i^

sometimes

;

will

composers

Progression

a

as

It

sounds.

embellishing by-tones,

character

without

analysts

include

of

seventh

other

of

and

principal chord

a

alterations of

is

work

the

as

Progression

notation

both

chords

the

should

sure,

their

of

occur

may

of

been

always

not

particular

the

have

of

chromatics.

identified

not

voice

comparison

is sometimes

chords

Scale

the

Seventh

"

diatonics, depends

change

be

can

Altered

178.

the

chord

the

and

the

Principle

single

finer

tones

to

Chord

thoroughness

of

of

Lowered. to

a

the

recognizing

The

character

of

test

harmonics,

as

latter

for

will be

certainty

and

singing

return

now

Fourth

"

Sixth

THE

176.

IX.

it will

ten

that

much

tendency for of

the

and

all

key. consider

doing, lose chords

of

most

suggest

the of a

105

TRAINING.

EAR

rich

shiftingof keys,

coloring that is lost with the constant because in establishing a new key, the II-V-I be employed, and consequentlythere is much As

the chromatics

mention

subject,the entitled, the

"

of

student

Ditson

Co.

this most

on

energy

When

feeling and 181.

will

key, sing

a

3b

I2 I

4

7

3b

2

3b

I3

2

2

I.

7

I.

is of

3I?i.

3b 2

I

I.

I I. 3b I

ih.

3b

2

2

I.

I

S 4

s

me

a

work

music

matter

a

teachers

of music

of mind

is

and

dents stu-

little of their time and

so

and

the

The

education.

less of

of the

lowered two

muscle, more

key. Combining i 3b 3b 2 2 i. I

4

3b 2

I.

employed

it with 2

5

I.

2

s

31^7

3b

I.

I

2

I

5

4

3b

Me, (pronounced

i

lish estab-

to

other

i.

I 3 3^Î 2

I

3!Î 2-4 I 3b-2 I I.

3b

called

3d

tones

tf

wsol

a

2

3Et Do

feature

with

one

i

3^

4

expend

more

begin

mode

i

of this

study

finger.

may), which the minor

realizes that

one

important

less of

We

quent fre-

most

profitand pleasure in

reallyastonishing that

needs pianist,in particular, of

variety. impossible to

extended

more

find both

little attention and

give so

a

be

must

Analysis,"by Benjamin Cutter, published by

it is 2ind feeling,

ear

it would

course

For

would

Harmonic

Oliver

of

cases.

rare

many

less

introduced, examples of the

are

given,but

will be

use

IV-V-I

or

tones

3I? 5

5

I I.

I

S

3b

2

2

I.

3!?2: I 3 3b'

I

I

of.

7

2

3b 4

5

I.

P=:p=^"

J-S

etc.

^BE^d^^^âL^J,J3^3^^ 33t

r.

^gE^gE^^ggSgg^l

i

106

EAR

TRAINING.

*A

^s^^^^^^^^^m

^

1

?Et:"

i!!L=|*=iat

I

m

-j^=X

6

r=a=pc^j: i^53t:

fî^SSB

=pa"r^

Ê^Ê

=t=^^tf

Grieg.

i ^: ElE:^;

feSaEEii

Me

182.

The

other

flat

scale-half ; the mode

each

is

tones

183.

7 6b 5.

Sing 6b s

I

Mediant

I

5 6b

3b

F

of

intervals

containingeither

instance,the third

chords, and

the

is that

key

in

of these in the

occurs

sixth in the

Sub-

Supertonic.

5.

i

I.

gb 5.

3

6^ 5.

3b 6b 5

4

3b

I.

I

6b 6 7

3b 6b

4.2

5

minor

change

one

chord

For

s

P^^f^' Sol

of any

and

fix the

to

makes

2

3b 2

5 4 I.

and

Submediant

dominant,

6b 7

employed

changed. necessarily

Tonic, Submediant

3b 6b

"

do

sixth, called Le, which

of the

-1-

I *-=L-t-.r:=Ê-:=z=tJK=-'-3E^z=E ;^=

I.

3b

2

6|7 5.

2

5

I.

4

6b 5.

6b s 3b 2

F 7 6b 5 4

3b

2

I.

5

I.

I

3b

I.

3=g^Bfc^g

f=M="^-=Mi

i

le

2

m

^

-al-g*" ^^-

--w=^.

=^3^^JÊ

3

3E? 3E5

5t

^

EAR

i

107

TRAINING.

li^^î^B

^=F6"=1=;:

Schumann. -^

^

P-sH

minor.

D

"

-^

^-f=-

"-

I

=t=E

Schumann.

SI

fefefE^:^ i4: E

SHI

I

F*

f=^

minor.

6

^=^

J2^

iI^=iS5

3^

:?s=^"i2i

ip=

i==ii="^ IE

3f

^y-

"25l-

a

tut

fzt"it

m

î

S^^ÊÊE^

^î^^g^îsi^^ Wagner.

9

i%

^=iî^jt

i

srt

etc.

Reinecke.

10

Pi^lg âEB3

ipaw

s

3=1=

itd"*

I

108

TRAINING.

EAR

1 84.

Sing these

in both

modes

:

1

2

fe=Ffr-=^î^^fF^%=^fe:fe 3

M

ftid^t i=j=m^=gg=^^^^ #

"h

i fe

=^

^' ir^^Ê

"w=t~

"^'A-

itz:i -^"

i i

-P=:S:

^*

6

1-. i^^^^

:i=p= "

*"

"ig

4

"-

rf-"^^^^^^^^

^;

""^-*-

"i^-#-

fe^^^^ Write

185.

fg

(g"

-#

plays them

:

"

these

as

the teacher

1

la A

i Schumann.

^^

0

_'W

-ft I -I"

t-

r-y

i

^

minor.

w

'

^

^^^^^ Bach.

G

minor,

EAR

TRAINING.

issH7-r" '^'

;E^

109

tl?^

:t=t

I

?Ci=*-

ffl "-j-

-*-V

i^l\ "

ztf-

Beethoven.

^=^5^"^^ jJElJetc ^ if?i^'^^"i|*J=^t=^t'ti:i|^=J 186.

Harmonize

these

1

:

*

2

C mi. I

C mi.

C

mi.

4

i

-"=

Ami.

"

g^

""

I

Vs

a

5

A

mi. Vt

8

German

liî^.

*==t

:#t=3^

-"

"

f-

1"-

"

mi.

iw 5^S^^^HfSFfSEf

(""

Ea^

Schumann.

s=e3E E

Choral.

iiî^g

"=^

7

i

I

I

5

6

G

5t

ra-

-(="

-"-T

^

^_^=M-^" lt="t

^=

Tt""

mi.

pjggg^^^gaig^^îpa 4"

Nearly all of the exercises in paragraphs 14s, 145, and

164

can

be

harmonized

in the minor

mode.

110

TRAINING.

EAR

suitable cadences

Finish these with

187.

i-iii

"

i-iii

"

i-iir-

"

I_iv

I_IV--

._.

s

8

n"-I

I-VI I

I_vii"

8

ii"-iv

ii_iv

ii_III

.

3

3

8

ii"-II--

ii-II

-.

"

.

.

II-VI--

ii-iv

.

.

.

.

.

.

.

.

.

i-VI

I-vi

I-VI

I-vi

i_iv

,

.

.

.

.

'

3

I_II

__.

8

3

i_iio_i_v

_

.

.

.

3

1-1

I_I

i_ii

I_ii

:

s

ii-vii"

n"-VI

II-VI-.

II-vi

.

II-

VII-

-

.

.

s

iii-I

II- VII

.

.

III-vi .

.

.

8

3

iii-V

III-V

III-IV

"

.

.

3

8

iii-IV

iii-ii

iii-i

III-VI" .

7

VI-1I--

,

.

.

.

5

3

3

vi-I

III-VI

iii-VII

iii-vii

VI-II

vi_II

VI-III--

VI-III

VI-ii

."

.

.

.

3 8

VI-III

VII-II-.

vii"-ii

VI-

.

"

.

VII-

VII-II,

vii"-III" .

.

.

vii"-vi"

vii"-V

vii"-IV

vir-vi--

.

.

.

3

S

3

S

188.

Dictation

.

.

.

3

3

3

3

I-ii

vii"-VI

vii"-VI

vii"-vi

-

3

3

3

3

VII-III

.

.

.

vii"-I

VI-vii"

vi-vii"

vi-V

3

keys.

in minor

Schumann.

fe^

"""

:??=

^ i^

,^

i -4"(Setc

i

iiÊm^îî^^ m ft-^-f" D

minor.

I

V

I

IV

I V

^-*Tr-*#

112

EAR

TRAINING

Schubert.

^m

iE

I"

"

*-T

g=gEfeEgE^^g r

r

-iA^Ll:d=i

"

=p

'rr

^^

n-

:^^^^l^^

$

r

r

-iS-^

""

^^ft^

r

r

|j-:i^" -^"j^-l^" ^^ l^-jj" f=r

f-

r^j-^1

r

6

Handel.

to' aS^ i P=^

^^"T

i^

^

m

4a" i ^ pa*^=pj5fsf3f I"

""

g

-I,

,

-

^3.

etc.

(

*:"

*E

Pf^s:

189.

15

36

I

Sing these, callingthe

44

4#5i.

3-

3

5

4K

5 3-

raised

3

4th

4

i|74|6|5i4|3-2|i.

S 4

"

Fi."

3-

1524543. 1742542

i.

16425123-21.

4_^2I 4^5 6_4 I 5 4

5 6b s 7

4

I

I.

I4#

I

3

I

I 5-

7 6

I 2-

iia

TRAINING.

EAR

s

I.

6

S.

I

I2 4 3b 4

2

I I.

I

3b 4jfs

I

I5

6

3

4

s

J2 I 3

5.

I

I.

I

6t" s 7

I

6b 4

I.

.1,

Ê #

^3 ^g^3^

""

-\i

"

HB

Fi

"

gt#j^^fe^lÊÊ|ÊÊÊaE Wagner.

i ^^Si

:ffl "

(^

cpgygzcg.

î

"-

"

^^^sii

^=tf^=E^^

:^=f=5i

^

"

'g-

r-+-ii

feE^^^j^gg=Cfj=C=fr=^|J^^ Schubert.

^^^^^^^^s^^^ 190. in the

these and you

Harmonize

Supertonicchord,

"

the

will note

substitutional

that

Fi

usually

harmony

of the

occurs

tone

altered.

E^ S^^Pi

S I

III

IV

I

II

V

I

l"

aa^s IV

II

I

114

EAR

TRAINING.

3

4

II

VI

i^

VI

s

-gi-

II

II

F=5

i

"/=-

^=^

V

117

s

V

s

7

Reinecke.

:f^

feE

1=dE

3(zt

Wea-ri

-

ly

at

cIose,Lit-tle day-light's eyelidsseek

i

re

^ here

in

bed

I

?=^

S

Lord.as

pose;

-

i

s^

lie,Watch

with

me

Fa

a

-

ther's eye. Abt.

^

-t

-m

*=dz:i="!^ night had

Calm

stol

-

en

iIE

"

"""

*"

"-

"=t The

on,

world

to

had

rest

The

gone,

^

=P

birds

had

ceased

their

glad songs,The bees

i^

^ in

moon

splen-dor shone.

to

hum

their sad

songsjThe

^1

i^ sailed the skies

And

lone.

a

Reinecke.

8

5^ i11-=^^ The

-P=E P-t^ blue-bell ringsado

wn

the

3^ vale

2E

=t

*=5= A

mer-ry

chime,

fesii^^ê %w clear;Come

join

the dance, Let

so

fine and

^ -^

no

one

Ye fail,

lit-tle dar

-

lingflow-ers

i

Ss i^

B3: fair!

The

^

diminished

one

Fi in the

third

and

In the first

chord

there is

no

why

reason

IV, for in either

or

the

where

same

brightar-

m

of flow

have

we

ersgay.

-

triad

a

consisting

:

becomes

pupils of

for the

be.

with

Le

in

V,

to a

augmented

an

the old

Regard

it progresses

combined

in

out

^

it should

case

key,

iEît

inversion,

very troublesome

host

A

major third

one

peeping

p^?^

minor

i a

blue.Coiiie

=F=F^^

Employing

191.

of

and

For-get--me-not and speedwell too.

ray,

m-

f=i":^w"r-h"=^5Eg

white flow'rets,yel-low,

ih

115

TRAINING.

EAR

or

it

sixth.

school, although as

altered

an

I-V.

The

ii

effect is

major key. Reinecke.

A tc,

f

rrr

"

V-

v-ê3^.

fe

-1^

-(=

t ?E

"b:i-

"

cg,.

i etc.

^

E

i-^ VI

Franck.

m

z"

^ r

-w "

"

"

f

T

I

r etc.

iSteii

=^

=#F

E

116

EAR

TRAINING.

Beethoven.

^^^

ffl ^

a^

"

"Jte$E5E 192.

Fi

is

"^

"

g r^

_^__^

frequently combined

IB

g^

P-""-

-"-

^

"

to,

"zsj

|î^g=i=t^==J=t3=H^":^ JT

I

with

seventh chord, resolvinginto the Dominant

Me

in

Tonic

or

a

diminished

fifth: Schumann.

i fc^ Z2

n

etc.

ifiE"

i

Lfe

Beethoven.

^^-

feg^: s m S

"=x=:* :33

"i"~"

"""

""

"

I

"F

"

aa

;

'

a

i

"-

"

r etc

is^

193. what

M

I

7b 6

7b 6b

I

5 4

7

3b 2

I.

2

7

seventh, callingit

I

4#

S

I I. s

I.

7b 6 eb

2

I.

II

2

7b 6 et' 5 2

the

"

Into

Te."

?

I 7 7i?I6

I

421.

lower

now

it resolve

does

Sing

4

will

We

7b

s 4

7b 6

7!?6

i

6

4

3.

7

I.

61? s 7

3-2-1.

7b 6b

I

I

5

i.

7b 6

s 4

4# 7b 6-7

7!?6

3

3b I.

4 3 2

I.

2

5 I.

3b

TFtAINlNiO,

EAR

117

: Sing by syllable

m w^=^

-tH"

"

i

\p. ^-

$

^

^

tt

aisâ^^g^^^^^^^Ê^ % g lsM=M^

gl^^^î

-!"""-

EEEE

3

^^^^-gfe^^^g^

P

"=^

-^

"

i^ Melodic

"""I

scale

minor

itj-^

^-EEE

"

F-=

m

"

"

s"

;

4

i W

r^ Do

194. in the

le

te

Harmonize

chord, demanding

Tonic

will notice

these, and you

that Te

usually

curs oc-

IV. 9

gw 3-1" "

qcziz

m^"-

1=

"-Ff2^

"

i 4zM

P=""-

gpB

?=5i

n

:P="i=

M 195

Te

in

a

;^=i^ ^ti5i

M=

Szta

I demands

It

IV. S

of

IV.

Te

in I demands 1$

""-=-

II, the

i

substitute

118

TRAINING.

EAR

"Mozart.

^^^^^^^^^m etc

^Ê^^M

ilzfc*

Mendelssohn.

iîiî^fe^l^ ^ -0

*"

used

is seldom

employed

it creates

fejj*^

S-S-

in

the

the unusual

I

J-^f

-d-

fe^^.^"^^S Te

1: 3t:t

Dominant

:^

chord, but

progressionof

V

to,

IV

where or

V

I so

to

ii.

Wagner.

"A-=l

i EE

*=-jtzM.

f-

Wagner

-f=" fe

-"SL

is^

-"2

IF^^=FFF^

S'-

frequentlyemployed

Subtonic chord, and

effect

a

Te

modulation

change the

to

mode

of the

:

Wagner.

i^^fe^^^

'"P^^^^ etc,

l-Xh

mm^^^^^^^msm^^

120

TRAINING.

EAR

Schumann.

iP^tf^

^

itdi ti

beau

ful

"

f-

So

star,

dear

198. 6

7

I.

I

21.

I

Sing

2Jf4 2#

eb 2ft3

2

4

^

7

3.

5

2#

diant

-

a

2

2}(3

41

1

V-

though dis

you

2

3

2t

4

3

6

4

2J(3

4| 2t

5

s|}6

5

4

3

7 f il3

I.

2

4 2Jf3. 4

are.

you

2Jt3.

2 ijf 2# 3

I

3.

S

I.

tant

5

2}(3.

4

I.

2

5 4

2Jf3.

S

I.

4| 4tt2# 3

far, How

-

^

love

2J}3

3

3-

li

I

ly

-

ra

^

=j|^

-v

2

i?=it

x:

O

21.

"-

N

4

5 4

3 3.

3.

t=t

^^

-^

I

I

"

I

^

r

-^

"

s

^ Ri

i

I

=iH=

^=^

^

^=t

::J= *

^

dW

'"^' "

"=^

*H-^-

SSg

^

^zîtîî*!^

I I

^t

-ri-^*

4

ii(p

^

ife

*3

"

199.

J

Ri

anijin such

a

^

-"-i"

i is

commonly

case

*

"

^ used

is treated

the

with

Fi

same

as

as a

\d

d

-"s^

i

embellishingchord, tone. singleembellishing an

"A/!

121

TRAINING.

Liszt.

M

^m

i=iEEi:

^.

m^^

^

Ji^^TiTl: z^^rTil

)i^^^3 Ri

also

"j

employed in

^

resolves

izTh^feî w=^

into

tute (thesubsti-

III

-4-

jî^

i

^

i

"zjis-

^

"

i

firstinversion of the Supertonic chord,

the

creatingan augmented sixth,which for V).

9fc

I

Schumann

^îp^^^ps^gli :"*

^1^^ The

fc

for Ri

use delightful

most

the mode

y-___l

:1

of the

Subtonic

is when

gia it is

employed

to

alter

chord. Wagner.

iaw

^j.i

5# I 7

2

_5#6

54321.

^

6

5.

iiî

^-

--^Sing 5 S# 6 5

200. 3

J-

i

"^-lS

i'^j^^^^g

i

2

I 1-7

sj7

2

I

7

I I. 6

5#

4

5 4 6.

2

4

2

3

I.

i

5}f65

I.

4I s# 6

sj{6 7 2

I.

s#

s 3 4

s

2

4 6

7 6 2

s#

7 6

5. 5

3

i.

I.

S# 6

5 4

3 I

3

7

i.

2

I.

S# 4l st 6 i# 5# 6

5.

122

TRAINING.

EAR

^qFf="p=|Mr=H^Tfr'h'=^l^

f^H=JEfe^JÊÊaÊ"^jiE^ ^psppî

1

gi^[f^âf^

IV

y

itt|

^^^^^^^^^^si 201

What

.

kind

of

a

fifth is

i-

-5# ?

5| ?

What

kind

of

a

fourth

What

kind

of

a

third is 3

? s|{

7

What

kind

of

a

sixth is 7

5|?

3

202.

Dictation.

is

2

i

i#--S# ? 5|? ? 5 jf

5#?

"

1

Chopin.

iP SEE^^

B^ 3^?^

f

dZii

g:^^T^^=g^

d2c

^

V^

'

*ti^ *-

Jij nit^tf^CTf^-y-^^rg ^jiâ 3

"

Beethoven.

taE ri"

^

^"^teH Schumann.

i

I

rpî

"

F^

"ÊÊî^

EAR

=E

:M=9

15=^

123

TRAINING.

^

^^gi

EJES3

rReinhold.

i=iS s^^

^^

f=^

=SF=^^t^^==t

tit

e

^'g^^^^^^^ÊE^g^^BSi is most

203.

it to

the

It also

mode.

major

in both

frequently found

demands

cases

in the Mediant

in the Dominant

occurs

Submediant

the

chord, altering

chord.

chord, and

See

example

of

both.

Folksong.

^

H^

fca -^

-^

204. 2

6#

6

6i 7

fit'5

Sing

7

^

t=p:

ii^3

6#

4

I.

2

2# 3

S''4

3

205.

6

I

7

I.

3^^2

6#

i# 2b

"

7

I.

6# 2

2#

I.

3

"

4

I

,1^-gik::

i

6

4#

yi

"

!i"i -^-g-

I 7 6# | 7

i

7

"

1

^

s

I.

I

"""

#7

| i.

s

5

3

5^ s#

I.

S# 6 6# 7

5

I.

6# 6

7

5

r.

6#

7

i-

7^.6

17

I.

Dictation.

1

i^^^^^ iW 5=r=^

-"

eE

"

: \'^

4

^r=^

fezET^^^î^^J-g^^g^^

p

v

"

p

"

^^

*-

^.

124

EAR

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^^8^^^_EEpE^tfEEFtr^n3^;"^ Schumann.

-!!2-=" ^

is

*

*"

H

"

EEâ^^j^-zt^ "E

^

ii^^^

j

Li is coipbined with

206.

^^

r

:#*

Di

in

an

etc.

embellishing chord.

2

1

Haydn.

^

Hi^

*

etr

^

î^=Fp:

5Se^ 207.

Sing

5

2|?

I'

3b 5 2b 7

4

2b

I

I

7

7

5^=^S

âgJSJ^^

za:z"-^

I.

I

4

2b

I.

I

2^ I

I.

7

2I? 3b 21? I.

I I.

3b 6b 2b

4 I

ib

I.

3

2

7

I.

I

6b

2b

I I

7

3b 2b

3b

I. I

2b 2I7

I.

2b 7

I.

I

7

I.

I-

1

tt:S=:^

"*^

Ra

^^^^SiE

îg^s

-^"

s

g*-

ti=5i

S^^B

î-b*-4i:

I

6"

i

^^=E|

3;

s:

BE*

:t:tW

^

is

what

^^^^^Î^^^^^B of the

In the first inversion

208.

Sparrow.

Song of the White-Throated

NovembeT

1^ VF^F^-

125

TRAINING.

EAR

known

commonly

as

the

Supertonic chord

Ra

creates

Neapolitan Sixth. Cramer.

1

3e^ w*

it

3^^

--^-

^

^S

i

W^F^

R

f etc.

minor.

A

I

i?* Cramer.

îi^^î

sti

(i

^g

)"^4

r minor.

C

Ii^

:g= "^

Efct

Sing

209. 5

5b 4

I

2b

3

2

5b 2b

I

5 I

I.

sb

4

i

3.

6b s 5b

4

3

s''4

I

3-

3I72 2b

I.

5

3b 5b 3b

sb

4

2

I.

s

I.

s i

I.

1

il

=5i=

E^r

=^

ia

Se

2

=^

^

^

"yTTp"

:"^trtr?EESES

ni-V*-

I

126

EAR

t tifff=

TRAINING.

^fe^îl

d*

^

pjEaEaÊ^j^^pfegEg^^g^g 210. Di

in

Ri

in

Summarizing the alterations,we may expect to hear I demanding ii. a VI or the first inversion of II demanding III, or with Fi

:

bellishing em-

I. Ra

in the first inversion

Me

in the minor

Fi in

II

a

Si in III Le

mode

of of

ii

minor

mode

of

the

Neapolitan Sixth.

key.

a

demanding V. and V demanding

in the

forming

VI. a

key

and

with

Fi

forming the

mented aug-

sixth. Li with Te

in

Di

a

I

in

an

embellishingchord. IV

demanding

and

in the

descending melodic

minor

scale. It is the

scale

interestingto the root

"

semitone, the

that

note

of the

tones

thus

or

write

major

altered

when

the

chords occur

of

fourth first, a

key

"

are

and

fifth of

raised

one

in the substitutional chord

of each. 211.

you

hear

Name it.

the

Roman

numeral

for

each

chord

as

128

EAR

TRAINING.

ÊÊ^^m^M^-^.^^=^^^ *-

w

-(=2-

^^

tMi^M %

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I

F" Bach.

feM^#t?*^ "' '

fe^^^^^WJ#^ i 3?

^

-^

Isu^rf^^^^tjrtr *:

ji

t="

i p^

^

s

S=#

JTl

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W^

Jjj-

B^^lp^f^

J. #=

-1^

"

i(

^^N^ T

"

3t=t

f^"

*-^^*^

^

^^^^^fe^taf="?^rp=f= Bach.

Crrj-^^

iÊ^ s

"^"r^ fT

^

EAR

l-d^-

^

î

129

TRAINING.

d^S=

;!=*

E^ s^^

^H-=l|

^-

"=Êtl-"p

1

i^^

J^ J. r

n

r

"

î|.^ it

mmî

f~y*'

"=P=

vV ,

^

b=" ^

sE

S

:t=1=

I

^^

i

|t-^"-a-^

^S" Bach.

i^z

igts^

-fe-

J

hd

"

r

EiE^^

fejgE^=^: "

r

pift 4:"

H^!-

-=t

"SÊfc?;

^r "

r

"

TRAINING.

EAR

130

d

p^^

"i|g--^^"j=e

GUILMANT. 6

'

\

^Ma

sJ

EPife

r

r

etc.

-"i=-

gfê EQ^

i

r^=F^=;â

r

"

Brahms.

-i.

^S

^

^^

^^ ^ 9iifca ^

4-hg" ^

f:

i S

^^^

Mendelssohn. 8

^

^

UJ=a

W:Ê"

i

J

iiSeE^

^

-,-^

F^^^P^^^F^P

i

131

TRAINING.

EAR

Bach.

^B^-i^^f^ Pi? P

r

r

r

=g=

^^Pl

M Pee

H-

m

^

^

i=^

^^

^

1F=S

itit

p

9# #

|=t

-"

^-

"

"

g-

1^=^=^ i

-i^Ê^lt-

"P- V.

-4r-

I^

E?=l

t-f fr

N^f^

g

^s=êE"

f-

19#

i

-J^

^^4-

?c=^

t=t

f-

SE^

ÊE^^^PJ^^ ElElEEElE^^

rf

#-"-^-=-gi-

-m-

^-

E

^

A

g""

=t=^

^.

15,

(2-

-ei

"

igi-

i T Bach.

ÊÊîi

^-^; "

I

-J-J

i\=^ Arr. from

10

^

:^5,"2--g- "J: ^fg-

w^

-^.

^

?^=i=

^

^-

s-"g-

-g-g."5"

3"

s^

.g_lZg_

p

fg-

feg: =^=

132

EAR

TRAINÎNG.

"27"

PTpfe^îdi^

JH JM Wagner.

Jl

iT""

^

^

^

iiî^^^^^ p-

r

r

^J-j^J^-^J-J-l^'J

?^Ht:F"

ij-j. 1^^

"

1

^^

El^^^

rt

f

f

i

P

^^-

j^:

-^-'-^

rf

r 212. not

Just

a

few

words

alreadypracticedit.

and the

1

cifff-

:9 ^=^=l=g^T^-J=3^

sooner

the

about

All music

student

learns

Reduction is based to

hear

to on

the

those

who

scale

this framework

or

have

chords, or

har-

EAR

133

TRAINING.

background,the quicker he reads, memorizes, and acquires the necessary velocity and Form with the florid passages. ease the habit of doing these things early,and it will requireno special mental effort to analyzethe difficultthings as they are encountered in the course of study. As suggested once before,do not burden monic

the

sometimes

we

details a

with

memory

term

hang.

When

Followingare

"

our

some

the

generaloutline

"

memory

pegs

has the harmonic

one

composition, then, and '

detail,but hear

every

only then, is

"

upon and

which

"

the

rhythmic

what minor

outline of

ready to practiceit. examples suggestingwhat can be done he

in

this line.

Heller.

Reduction

la

of

i.

I

%

f

Heller.

iizptt-==:

g^

^^^^^^

i*

m

2a

Reduction

of

z.

^ 9^ ^

î

d._

-s"-

f

r

134

"AJi

TRAINING. Steibelt.

^

If^

=^f^=^

Sst

i^

iiE

pfc

!"gi

I

^

m

#

^^^g^^j

f^Ê.

t ,"F

"^ 3a

^

=^ Reduction

of 3.

i

^^

[H^^

P* Heller.

136

TRAINING.

EAX

Reduction

5a

im^:1:

of

iSL -^

5.

J-

j.

j-^-r

It

ji-fEk^

J.

J=^n

î:=J

^^

I ft

The

parting Of

think.

is

but

one

a

word

thousand

who

thinks

Listen.

honest,

Classify

who

play

feels

more

than

or

cause

your

conscientious

not

and

effect

knowledge. work.

and

teacher

the

people

Hear

Observe else.

both

to

in

a

;

pupil

musical

general

there of

technique but

way, is

can

think,

instruments,

the

everything Success

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related be

with

to

achieved

a

position. com-

nation. discrimi-

something only

by

Ear Training for Teacher and Pupil 1000078823

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